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

Rees Lloydview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Rehfisch Alisonview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Reinhardt Kenview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Reynell Gladys 1881-1956view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Richardson Charles Douglas 1853-1932view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Richmond Oliffe 1919-77view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Ricketts William 1899-1993view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Rielly Henry working 1870-1902view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Rigby Johnview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Rivers Richard Godfrey 1859-1925view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Roberts Tomview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Roberts Douglas 1919-76view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Robertshaw Fredaview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Robertson-Swann Ronview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Rodius Charles 1802-1860view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Rodway Florence 1881-1971view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Roggenkamp Joyview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Rolando Charles 1844-93view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Rooney Robertview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Roper Edwardview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Roper J see Edward Roperview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Rose Davidview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Rose Williamview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Rosengrave Harryview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Roughsey Dickview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Goobalathaldin see Roughsey Dickview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Rowan Ellisview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Rowe George 1797-1864view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Rowe Ronview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Rowell Johnview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Rowell Kennethview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Rowell Williamview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Rrap see Rrap Brown Julieview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Dattilo Rubbo Antonio view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Rubbo Ellen 1911-77view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Rubuntja Dorisview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Russell John Peterview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Russell JRobert 1808-1900view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Rust Bernhardview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Sainthill Loudonview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Salkauskas Henryview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Salmon Williamview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Salvana Johnview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Samson Horaceview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Sani Tommaso 1839-1915view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Sansom Garethview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Santry Jphnview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Sawrey Hughview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Scheltema Jan Hendrik view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Schlicht Rollinview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Schlunke Davidview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Schmeisser Jorgview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Schramm Alexanderview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Scott Montagu 1835-1909view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Seidel Brianview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Sellbach Udoview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Senbergs Janview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Serle Dora 1879-1968view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Shannon Michaelview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Sharp Martinview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Shaw James 1815-1881view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Shaw Roderickview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Shead Garryview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Shepherdson Gordon b1934view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Sherlock Max b1925view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Sherrin Frankview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Sherwood Maud 1880-1956view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Shillam Kathleenview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Shillam Leonardview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Shirlow John 1869-1936view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Shore Arnold 1897-1963view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Short William senior 1833-1917view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Sibley Andrewview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Sime Dawnview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Sime Ian 1926-1989view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Simonetti Achille 1838-1900view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Simpkinson Francis (de Wesselow) 1819-1906 see also de Wesselowview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

de Wesselow Francis Simpkinson 1819-1906view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Simpson Norah 1895-1974view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Sinclair Margaret E b1918view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Skipper John Michael 1815-83view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Skipper Peterview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Slaeger Philip convict artistview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Smart Jeffreyview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Smith Bernardview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Smith Bernhard 1820-1885view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Smith Ericview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Smith Grace Cossingtonview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Smith Jack Carrington 1908-72view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Smith Joshuaview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Smith Mervynview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Smith Sydney Ureview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Snell Tedview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Solomon Lanceview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Souter David Henry 1862-1935view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Southern Clara 1861-1940view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Spowers Ethelview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Stanley Owen 1811-1850view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Stannage Miriamview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Stelarcview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Stephen Clive 1889-1957view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Stephenson Juneview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Steuart Ronaldview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Stipnieks Margaritaview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Stokes Constanceview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Stoner Dorothyview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Storrier Timview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Strachan Davidview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Strange Frederickview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Streeton Arthurview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Strutt Williamview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Stuart Guyview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Stubbs Mauriceview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Sturgess R Wview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Sulman Prizeview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Summers Charles 1825-1878view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Sumner Alanview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Sutherland Jane 1855-1928view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Sutherland Jean 1902-78view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Sweatman Jo 1872-1956view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Syme Evelyn 1888-1961view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Szabo Josephview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Szigetti Imreview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tait Bess Norriss 1878-1939view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tanner Edwin 1920-1980view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Taylor Howardview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Taylor James active 1817-1822view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Teague Violet 1872-1951view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tebbit Henriview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

de Teliga Stanview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Terry F Cview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Thake Ericview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Thomas Margaretview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Thomas Roverview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Thompson Francis Royview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Thompson Tomview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Thornhill Dorothyview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Thornton Wallaceview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Thorpe Hallview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Thurston Eliza 1806-1873view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tibbitts William 1837-1906view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tierney Joseph - Bernard Smithview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tillers Imantsview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tjakamarra Michael Nelsonview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tjakamarra Old Mickview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tjampitjinpa Dinny Nolanview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tjampitjinpa Kaapa Mbitjanaview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tjampitjinpa Maxieview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tjangala Uta Utaview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tjapaltjarri Clifford Possumview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Possum Clifford see Tjapaltjarri view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tjapaltjarri Tim Leuraview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tjapaltjarri Tommy Lowryview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tjapanangka Pinta Pintaview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tjapanangka Pinta Pintaview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tjapangati John Mosquitoview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tjapanunga Colin Tjaruruview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tjungurrayi Paddy Carrollview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tobin George 1768-1838view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tjupurrula Johnny Warrangulaview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tjupurrula Turkey Tolsenview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Todt Emil Hermannview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tolley Davidview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Toovey Doraview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Traill Jessie 1881-1967view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Trappe Paulview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Trenerry Horace 1899-1958view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Trethowan Edith 1901-1939view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Treweeke Vernon b1939view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Trezise Perey b1923view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tribe Barbaraview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tuck Marieview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tuck Ruthview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tucker Albertview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tucker Tudor St George 1862-1906view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Turner Thomas 1813-1895view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Turner James Alfred 1850-1910view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Tweddle Isabel Hunter 1877-1945view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Twenty Melbourne Paintersview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Unsworth Kenview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Upward Peterview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Ure Smith see Smithview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Vale May 1862-1945view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Varvaressos Vicki b1949view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Varssilieff Danilaview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Veal Hayward 1913-68view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Vickers Trevorview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Vike Harald 1906-87view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Vike Harald 1906-87view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Wainewright Thomas Griffiths 1794-1847view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Waite James Clarke 1832-1920view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Wakelin Rolandview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Walker Murrayview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Walker Stephenview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Walker Theresa 1807-76view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Wallace-Crabbe Robinview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Waller Christian 1895-1954view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Waller Napier 1893-1972view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Wallis James active 1814-18view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Walsh James active 1860sview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Warner Ralph Malcolm 1902-66view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Warren Alanview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Warren Guyview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Waterhouse Phyl 1917-89view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Waters Maynardview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Watkins Dickview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Watkins John Samuelview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Watling Thomasview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Watson Douglas 1920-72view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Watson Jennyview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Watters Maxview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Waugh Halview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Webb Archibald Bertram 1887-1944view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Webb George Alfred John 1861-1943view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Westall William 1781-1850view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Webber John 1751-93view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Wentcher Tina 1887-1974view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Westwood Brianview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Wheeler Charlesview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Whisson Kenview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

White John b1930view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

White Unkview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Whitechapel Exhibitionview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Whitehead Isaacview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Whiteley Brettview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Weinholt Anneview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Wigley Jamesview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Wilkie Leslieview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Williams Eileenview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Williams Fredview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Wilson Dora 1883-1946view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Wilson Eric 1911-1947view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Wilson John Murray b1930view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Wilson William Hardy 1881-1955view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Withers Walterview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Wirth Louis Wilhelm Karl 1858-1950view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Wolseley Johnview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Wolinski Joseph 1872-1955view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Wood Noelview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Wood Rexview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Woodhouse Frederick Wview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Woods Tony b1940view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Woolner Thomas 1825-1892view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Wunuwun Jackview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Wynne Prizeview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Yakaduna see McRaeview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Yandell Christian see Wallerview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Yirawala artview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Young Blamireview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Young Michael b1945view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Yumbulul Terryview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Yunupingu Munggurrawuyview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Zanalis Vlase 1902-1973view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Zikaris Teisutis b1922view full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Zofrea Salvatoreview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Zusters Reinisview full entry

Reference: see Concise Dictionary of Australian Artists, by Gwenda Robb and Elaine Smith, edited by Robert Smith. The introduction states that ‘much of the material has never before been published’. Includes an ‘Index to Public Collections’.
Publishing details: MUP, 1993, pb, 288pp.

Ink in Her Veinsview full entry

Reference: see Ink in Her Veins: The Troubled Life of Aileen Palmer. Includes details of Meldrum school artists particularly Madge Hodges who painted Aileen Palmer’s portrait. Aileen Palmer was the daughter of Vance & Nettie Palmer, who served in the Spanish Civil War and World War II. She was post-war poet, writer, and political activist in Melbourne's post war literary & arts community.
Publishing details: UWA Publishing, 2016, 328pp,
Ref: 1000

Robertson-Swann Ronview full entry

Reference: see Sydney Morning Herald, Spectrum, January 2-3, 2021, article by Kerrie O’Brien, p2

Sullivan Andrewview full entry

Reference: Andrew Sullivan - Survey into the Cretaceous [see also review by John McDonald in Sydney Morning Herald, 9-10 January, 2021, Spectrum, p9].
Publishing details: Maitland Regional Art Gallery, 2021
Ref: 1000

Macpherson Norma view full entry

Reference: see Coral Gables Auction
January 14, 2021, 1:00 PM EST
Miami, FL, US, lot 57: Norma Macpherson Australian Painter. "Bathing Boxes Sorrento". Oil on Cardboard. Measure 11 1/4"in H x 19"in W and 18 1/2"in H x 26"in W with frame. Norma Macpherson was born in Australia and currently lives in Hastings on the Mornington Peninsula. She has been painting professionally in oils and watercolours for more than 15 years and specialises in working directly from the landscape painting Australian scenes and Gum trees. She also does extensive studio work. She has received and continues to receive many awards for her art work both in N.S.W. and Victoria and her work has been acquired by buyers and Collectors as far afield as New Zealand, U.S.A. England the Netherlands and Ireland.

Stout Stephen Montague Stoutview full entry

Reference: see Douglas Stewart Fine Books, catalohue, January, 2021:
A note on early Western Australian photographic artist Stephen Montague Stout:
‘In 1863 he opened a photographic studio in Pakenham Street Fremantle with 61 year old ex-convict Robert Wilson, who had been Stout’s Drawing Master at his Fremantle Academy. By 1864 he had a studio on his own in Henry Street, Fremantle ‘opposite the late Castle Hotel’. Later he moved to High Street. He charged 7s 6d for three cartes-de-visite portraits and also sold ‘coloured photographs on glass by the new process, warranted not to fade.’ From Fremantle he visited Bunbury, Geraldton, or Guildford for a week or so to fulfil commissions.’ (John Dowson)
It is possible that the Haysoms commissioned Stout to take this carte de visite portrait on one of his visits to Guildford. As a travelling photographer, he is likely to have carried a piece of patterned carpet and a simple painted backdrop in his cart; note also the absence of any fragile or cumbersome studio props such as vases or architectural fixtures – neither ideal kinds of object for a photographer to take ‘on the road’.
See also the following article on Stout by his biographer, Irma Walter

Avago 1981-1982 postcard bookview full entry

Reference: Avago 1981-1982 postcard book, designed and produced by T. Coleing and Shayne Higson ; photographs by Shane Higson. ‘From the early ’80s Sydney underground art scene featured the ‘Avago Art Gallery’ which, at 4 cubic feet, advertised itself as ‘the smallest gallery in the Southern Hemisphere’.
Publishing details: Paddington, N.S.W. : Avago, [1982?]. Folio, illustrated wrappers, spiral bound, 24 pp, illustrated (each page with four detachable photographic postcards).
Ref: 1000

Coleing Tonyview full entry

Reference: Avago 1981-1982 postcard book, designed and produced by T. Coleing and Shayne Higson ; photographs by Shane Higson. ‘From the early ’80s Sydney underground art scene featured the ‘Avago Art Gallery’ which, at 4 cubic feet, advertised itself as ‘the smallest gallery in the Southern Hemisphere’.
Publishing details: Paddington, N.S.W. : Avago, [1982?]. Folio, illustrated wrappers, spiral bound, 24 pp, illustrated (each page with four detachable photographic postcards).

Higson Shayneview full entry

Reference: Avago 1981-1982 postcard book, designed and produced by T. Coleing and Shayne Higson ; photographs by Shane Higson. ‘From the early ’80s Sydney underground art scene featured the ‘Avago Art Gallery’ which, at 4 cubic feet, advertised itself as ‘the smallest gallery in the Southern Hemisphere’.
Publishing details: Paddington, N.S.W. : Avago, [1982?]. Folio, illustrated wrappers, spiral bound, 24 pp, illustrated (each page with four detachable photographic postcards).

Nolan Sidneyview full entry

Reference: Sidney Nolan, illustrated, catalogue of 77 works - Nolan’s retrospective in Sweden featuring works from his Kelly, Burke and Wills, Antarctica, Mrs Fraser, Africa series.
Publishing details: Stockholm : Moderna Museet Stockholm, 1976. Quarto, illustrated wrappers (small ding upper margin), pp. 36,
Ref: 1000

Baines Robertview full entry

Reference: Bracelet Java-la-Grande : the jewellery space between the voyages of Vasco da Gama in 1498 and James Cook in 1770. [’Part of the ‘Closer’ exhibition at the Museu Nacional de Arte Antiga (MNAA), Lisbon, Portugal, an event that was part of the 10th International Symposium of Contemporary Jewellery, ‘Ars ornata Europeana’, in Lisbon in 2005.
In 2005, Robert Baines, an acclaimed Australian goldsmith known worldwide for his fine artistry – often incorporating ancient goldworking techniques – made an extraordinary gold bracelet that was exhibited in Lisbon’s Museu Nacional de Arte Antiga on the occasion of an international symposium. This unusual book, in some ways a fictionand journey of the imagination as alluring as the bracelet itselftells the story of the artefact’s imaginary origins to its complex technical fabrication. Above all the book demonstrates the importance of wit and playfulness within the creative art process.’]
Publishing details: Melbourne : Macmillan Art Publishing, 2006. Small quarto, gilt-lettered cloth with pictorial inlay, pp. 46; (2), illustrated.
Ref: 1000

Barberis Irene view full entry

Reference: Intersections : reading the space. Christianity, Judaism and Islam / Irene Barberis, Parastou Forouhar, Jane Logemann.‘Conceived and co-curated by the Australia-based artist Irene Barberis, this exhibition features the work of Barberis and two other artists: Parastou Forohaur, an Iranian exile living in Germany, and Jane Logemann, who lives in New York.
Publishing details: Melbourne : Jewish Museum of Australia, 2005. Quarto, illustrated wrappers, pp. 111. illustrated.
Ref: 1000

women’s artview full entry

Reference: see Sight Lines - Womens Art & Feminist Perspectives in Australia [’This book shows how Australian feminism led to groupings, activities, issues & ideas in the visual arts which have engaged female artists from the 70's. The chapters include: The Women's Art Movement -- Prelude to the 1970s -- 'All Art is Political' -- The Subject of Art & Craft -- In Sight. Numerous color and B&W plates.’]
Publishing details: Craftsman House & Gordon & Breach, 1992, hc

feminismview full entry

Reference: see Sight Lines - Womens Art & Feminist Perspectives in Australia [’This book shows how Australian feminism led to groupings, activities, issues & ideas in the visual arts which have engaged female artists from the 70's. The chapters include: The Women's Art Movement -- Prelude to the 1970s -- 'All Art is Political' -- The Subject of Art & Craft -- In Sight. Numerous color and B&W plates.’]
Publishing details: Craftsman House & Gordon & Breach, 1992, hc

artist as designer Theview full entry

Reference: The artist as designer. Catalogue of an exhibition held at Ivan Dougherty Gallery, Nov. 9-30, 1985. Essay by Elisabeth Bastian. Focusses on Australian and international artists’ commercial design work, including stamps, posters and dustjackets for books.
Publishing details: Sydney : Sydney College of Advanced Education, 1985. Quarto, illustrated wrappers, pp. [28], illustrated.
Ref: 1000

designersview full entry

Reference: see The artist as designer. Catalogue of an exhibition held at Ivan Dougherty Gallery, Nov. 9-30, 1985. Essay by Elisabeth Bastian. Focusses on Australian and international artists’ commercial design work, including stamps, posters and dustjackets for books.
Publishing details: Sydney : Sydney College of Advanced Education, 1985. Quarto, illustrated wrappers, pp. [28], illustrated.

designview full entry

Reference: see The artist as designer. Catalogue of an exhibition held at Ivan Dougherty Gallery, Nov. 9-30, 1985. Essay by Elisabeth Bastian. Focusses on Australian and international artists’ commercial design work, including stamps, posters and dustjackets for books.
Publishing details: Sydney : Sydney College of Advanced Education, 1985. Quarto, illustrated wrappers, pp. [28], illustrated.

colour musicview full entry

Reference: ‘A visionary space - Theosophy and an alternative modernism in Australia 1890-1934. A thesis submitted for the degree of Doctor of Philosophy of the Australian National University’ by Jenny McFarlane April, 2006. [partly indexed - to be indexed fully]
Table of contents
Acknowledgements, Abstract, List of figures Introduction:
1. The third eye: Towards an alternative modernism
2. Transcendental faiths and young democracies: Jane Price and a 46 vision for the young Australia
3. Unauthorised Visions: Florence Fuller
4. Theorising the visionary: Ferdinanda and Meldrum in Melbourne and the realisation of Fuller's promise in the work of Clarice Beckett
5. A question of balance: Ethel Carrick
6. Slippages and misfires: Leadbeater in Sydney
7. Science versus Spirit: colour-music in Sydney
8. The partial realisation of a great ideal: Axel Poignant 209
Conclusion: A visionary space
Appendices
Select Bibliography 250
Abstract:
‘In this thesis I argue that the Theosophical Society had a major influence on Australian visual artists during the early 20th century. The project is located within a larger wave of contemporary histories now focussing on the aberrant and discontinuous to rediscover actively forgotten pasts. The Theosophical Society supported those who were marginalised and disenchanted with the experience of modernity. It proved particularly attractive to women who as artists, activists and intellectuals drew on its conceptualisation of reality to engage with an uncertain present. The Society was especially productive for artists as it offered a radical alternative visuality in which women had a privileged role in an extended international network of like-minded individuals.
Theosophical teachings proposed a reality which was more profound than that available to the physical eye. The clairvoyant leadership of the Society communicated their encyclopaedic knowledge of the invisible and this would have a significant impact on Australian artists. Equally important was the influence of Indian art, specifically an interpretation of an Indian art tradition which privileged visualisation over optical sensation. The tension between a perceived invisible reality and the visible world unites these Theosophically inspired artists who directed their practice at passing beyond appearances- beyond the visible to truth. The practice of visualisation was deployed in combination with a variety of stylistic vocabularies. In this thesis a number of key case studies are proposed which together present a picture of Australian modernist artists as informed primary players in a movement which challenged Western reason and looked to the 'East' to revitalise its focus. Australian artists are reconceived as an active part of a larger international network in which women and their concerns are the primary point of focus.’

Publishing details: unpublished, 2006,

Theosophy and Australian artview full entry

Reference: see ‘A visionary space - Theosophy and an alternative modernism in Australia 1890-1934. A thesis submitted for the degree of Doctor of Philosophy of the Australian National University’ by Jenny McFarlane April, 2006. [partly indexed - to be indexed fully]
Table of contents
Acknowledgements, Abstract, List of figures Introduction:
1. The third eye: Towards an alternative modernism
2. Transcendental faiths and young democracies: Jane Price and a 46 vision for the young Australia
3. Unauthorised Visions: Florence Fuller
4. Theorising the visionary: Ferdinanda and Meldrum in Melbourne and the realisation of Fuller's promise in the work of Clarice Beckett
5. A question of balance: Ethel Carrick
6. Slippages and misfires: Leadbeater in Sydney
7. Science versus Spirit: colour-music in Sydney
8. The partial realisation of a great ideal: Axel Poignant 209
Conclusion: A visionary space
Appendices
Select Bibliography 250
Abstract:
‘In this thesis I argue that the Theosophical Society had a major influence on Australian visual artists during the early 20th century. The project is located within a larger wave of contemporary histories now focussing on the aberrant and discontinuous to rediscover actively forgotten pasts. The Theosophical Society supported those who were marginalised and disenchanted with the experience of modernity. It proved particularly attractive to women who as artists, activists and intellectuals drew on its conceptualisation of reality to engage with an uncertain present. The Society was especially productive for artists as it offered a radical alternative visuality in which women had a privileged role in an extended international network of like-minded individuals.
Theosophical teachings proposed a reality which was more profound than that available to the physical eye. The clairvoyant leadership of the Society communicated their encyclopaedic knowledge of the invisible and this would have a significant impact on Australian artists. Equally important was the influence of Indian art, specifically an interpretation of an Indian art tradition which privileged visualisation over optical sensation. The tension between a perceived invisible reality and the visible world unites these Theosophically inspired artists who directed their practice at passing beyond appearances- beyond the visible to truth. The practice of visualisation was deployed in combination with a variety of stylistic vocabularies. In this thesis a number of key case studies are proposed which together present a picture of Australian modernist artists as informed primary players in a movement which challenged Western reason and looked to the 'East' to revitalise its focus. Australian artists are reconceived as an active part of a larger international network in which women and their concerns are the primary point of focus.’

Publishing details: unpublished, 2006,

Mysticism in Australian artview full entry

Reference: see ‘A visionary space - Theosophy and an alternative modernism in Australia 1890-1934. A thesis submitted for the degree of Doctor of Philosophy of the Australian National University’ by Jenny McFarlane April, 2006. [partly indexed - to be indexed fully]
Table of contents
Acknowledgements, Abstract, List of figures Introduction:
1. The third eye: Towards an alternative modernism
2. Transcendental faiths and young democracies: Jane Price and a 46 vision for the young Australia
3. Unauthorised Visions: Florence Fuller
4. Theorising the visionary: Ferdinanda and Meldrum in Melbourne and the realisation of Fuller's promise in the work of Clarice Beckett
5. A question of balance: Ethel Carrick
6. Slippages and misfires: Leadbeater in Sydney
7. Science versus Spirit: colour-music in Sydney
8. The partial realisation of a great ideal: Axel Poignant 209
Conclusion: A visionary space
Appendices
Select Bibliography 250
Abstract:
‘In this thesis I argue that the Theosophical Society had a major influence on Australian visual artists during the early 20th century. The project is located within a larger wave of contemporary histories now focussing on the aberrant and discontinuous to rediscover actively forgotten pasts. The Theosophical Society supported those who were marginalised and disenchanted with the experience of modernity. It proved particularly attractive to women who as artists, activists and intellectuals drew on its conceptualisation of reality to engage with an uncertain present. The Society was especially productive for artists as it offered a radical alternative visuality in which women had a privileged role in an extended international network of like-minded individuals.
Theosophical teachings proposed a reality which was more profound than that available to the physical eye. The clairvoyant leadership of the Society communicated their encyclopaedic knowledge of the invisible and this would have a significant impact on Australian artists. Equally important was the influence of Indian art, specifically an interpretation of an Indian art tradition which privileged visualisation over optical sensation. The tension between a perceived invisible reality and the visible world unites these Theosophically inspired artists who directed their practice at passing beyond appearances- beyond the visible to truth. The practice of visualisation was deployed in combination with a variety of stylistic vocabularies. In this thesis a number of key case studies are proposed which together present a picture of Australian modernist artists as informed primary players in a movement which challenged Western reason and looked to the 'East' to revitalise its focus. Australian artists are reconceived as an active part of a larger international network in which women and their concerns are the primary point of focus.’

Publishing details: unpublished, 2006,

Collins Davidview full entry

Reference: see Defiance Gallery press release 14.1.21:
DEFIANCE GALLERY IS DELIGHTED TO ANNOUNCE THE REPRESENTATION OF DAVID COLLINS.
David Collins lives and works on Dangar Island on the Hawkesbury River in NSW. Collins moved to the island in 1987, the deep connection he feels with his environment culminates in his painting and drawing. Often sailing across the river in search of new outlooks, Collins chooses a location and works en plein air, studying and absorbing the surrounding landscape he lives in. His work references what he observes on a daily basis in the ever-changing waterway.

'Regular crossing of the river, from the island to the mainland, exposes one to its varied moods and colours. The play of light on the water surface, the ebb and flow of tides and currents, the calligraphic lines of bridges, hulls and rigging. These are among the experiences that continue to fascinate and influence my work.'

David Collins was one of five artists invited to be part of the Australian Wildlife Conservancy project at the Mount Zero sanctuary in far North Queensland. His body of work responding to this landscape can be seen in the upcoming AWC exhibition opening 14 February

Publishing details: DEFIANCE GALLERY MARY PLACE
12 Mary Place, Paddington, NSW 2021
Directors: Campbell Robertson-Swann and Lauren Harvey
Gallery hours Wed - Sat 11am - 5pm / Tel: (02) 9557 8483

Borough Graham b1952view full entry

Reference: see RoGallery, January 30, 2021, Long Island City, NY, US, lot 236: Artist: Graham Borough, Australian (1952 - )
Title: Woman With Flowers
Year: circa 1975
Medium: Lithograph, Signed and Numbered in Pencil
Edition: 250
Size: 40 in. x 26 in. (101.6 cm x 66.04 cm)
Reference:
Dimensions
40 in. x 26 in. (101.6 cm x 66.04 cm)
Artist or Maker
Graham Borough
Medium
Lithograph, Signed and Numbered in Pencil
Date
circa 1975

Anton (Beryl Antonia Botterill Yeoman) (Australian-British, 1907-1970)view full entry

Reference: see Sworders auction, UK, 26 Jan, 2021. lot 298: Anton (Beryl Antonia Botterill Yeoman) (Australian-British, 1907-1970) 'God Bless The Duke of Argyll'
signed 'Anton', pen and ink, with a green wash and bodycolour, on a Windsor and Newton 'Fashion plate board,
27 x 38cm
And 3 other lots.

Yeoman Beryl Antonia Botterill - see Anton view full entry

Reference: see Sworders auction, UK, 26 Jan, 2021. lot 298: Anton (Beryl Antonia Botterill Yeoman) (Australian-British, 1907-1970) 'God Bless The Duke of Argyll'
signed 'Anton', pen and ink, with a green wash and bodycolour, on a Windsor and Newton 'Fashion plate board,
27 x 38cm

Garner Joyceview full entry

Reference: see Joyce Garner, "The Walls of the Valley will glow (Australian)", oil on board, signed lower left, Keys Fine Art Auctioneers
Joyce Garner, "The Walls of the Valley will glow (Australian)", oil on board, signed lower left, 75 x 48cm, 29 Jan, 2021. [The painting appears to be c1900].

Who Let The Dogs Outview full entry

Reference: Who Let The Dogs Out: The Dog In Contemporary Australian Art. [’67 established artists pay homage to dogs and dog lovers where each work portrays the complex and lasting emotional and physical attachements we have with dogs.’]
Publishing details: Lake Macquarie City Art Gallery, Booragul, 2008, 28pp, colour illusts, very good+ stapled paperback 67 established artists pay homage to dogs and dog lovers where each work portrays the complex and lasting emotional and physical attachements we have with dogs.
Ref: 143

Dogs in Australian artview full entry

Reference: see Who Let The Dogs Out: The Dog In Contemporary Australian Art. [’67 established artists pay homage to dogs and dog lovers where each work portrays the complex and lasting emotional and physical attachements we have with dogs.’] [to be indexed
Publishing details: Lake Macquarie City Art Gallery, Booragul, 2008, 28pp, colour illusts, very good+ stapled paperback 67 established artists pay homage to dogs and dog lovers where each work portrays the complex and lasting emotional and physical attachements we have with dogs.

Bagge Dorothy b1914view full entry

Reference: see Colville Auctions, February 22, 2021, Hobart, Australia, lot 49: Dorothy Bagge (c. 1914 ) Australian
RMS Medina in Sydney Harbour
Oil on canvas board
Signed lower left. Metal plaque afixed lower frame with artist and title .
Dimensions
79 x 55cm (sight) 95 x 72cm (fr)
Artist or Maker
Dorothy Bagge (c. 1914 ) Australia
Medium
Oil on canvas board
Date
1914
Condition Report
Excellent
Provenance
Christies Maritime Pictures, London 25 May 2006 #644

Bagge Dorothea (Dora) - possibly aka Dorothy Bagge?view full entry

Reference: see Heritage, The National Women’s Art Book - 500 works by 500 Women artists from Colonial Times to 1955 edited by Joan Kerr, G+B Arts International, Art & Australia and Craftsman House, 1995, hc, dw, 481pp.

Lunn Wview full entry

Reference: see Colville Auctions, February 22, 2021, Hobart, Australia,
W Lunn Australian
The Price of Wheat
Etching
Signed, title, edition below plate.
Dimensions
15 x 14.5cm (plate) 30 x 23cm (mount)
Artist or Maker
W Lunn () Australia
Medium
Etching Ed 8/15
Condition Report
Excellent
Notes
Signed, title, edition below plate

Success and failureview full entry

Reference: Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Museum of Applied Arts and Sciences collectionview full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Broadhurst Florence peacocks wallpaperview full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Henry Lucien bookplate design for tobacco jarview full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Morgan Sally posterview full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

McMahon Marie Posterview full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Dombrovskis Peterview full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Coburn John Billabong textileview full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Billabong textile by John Coburn view full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Collings Dahl and Geoffrey travel posterview full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Collings Geoffrey and Dahl travel posterview full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Industrial Design Centre - Sydneyview full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

James Richard Haughton Industrial Design Centre view full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Plate Carl Alpine Rocks textileview full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Alcorso Claudio Silk and Textiles Printeryview full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Silk and Textiles Printery - Claudio Alcorso view full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Silk and Textiles Printery - Claudio Alcorso view full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Andrews Gordon - design archive view full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Taplin RE (Mac) sculptorview full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

love tokensview full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

tokens - love tokensview full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Larcombe Denise - Crown Corning Ware - archiveview full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Crown Corning Ware - Denise Larcombe - archiveview full entry

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Needham Dominic (American, born Australia 1854-1911)view full entry

Reference: see SARASOTA ESTATE AUCTION, Florida, USA, 23-4 January, 2021, lot 1098: Signed large pair of oil on canvas paintings of cascade mountain scenes. Born in Australia in August 1853. Needham arrived in northern California in the late 1860s and settled in Marin County. He painted many scenes in and around San Francisco as well as landscapes of the Eel River area, Trinity Alps, and other scenic spots of northern California. He also painted a few portraits including those of his wife Minnie and Emperor Norton. Needham maintained a studio in his home in San Anselmo on Ross Avenue where he died on April 5, 1911. Exh: San Francisco Art Association, 1873; Calif. State Fair, 1881. Overall: 46 x 20 in. Sight: 41 1/2 x 15 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.

Larter Patview full entry

Reference: Pat Larter - Get Arted [’Discover the collaborative, provocative, humorous and joyful art of Australian artist Pat Larter in her first solo exhibition in a public art museum
Through her work over 30 years, Pat Larter challenged conventions of the male gaze and stereotypes of female desire and sexuality. From her homes at Luddenham and then Yass, in rural NSW, she became one of the major voices in the international, and fiercely anti-establishment, mail-art movement, coining the term ‘femail’ art.
In spite of her international reputation, Pat Larter was and still is most recognised as the muse of her partner and fellow artist Richard Larter, who painted her with a prolific and insatiable zeal. This exhibition celebrates Pat Larter as an artist, drawing from her extensive archive that includes film, photographs, video of performance, mail art, collage and printmaking. The archive was gifted to the National Art Archive at the Art Gallery of New South Wales by Richard Larter in 1999.’]
Publishing details: Art Gallery of NSW, 2021 (catalogue details to be entered)
Ref: 1000

Larter Patview full entry

Reference: article by John McDonald ‘An uninhibited journey from kinkiness to the political’
Publishing details: Sydney Morning Herald, 23-4 January, 2021, Spectrum, p4.
Ref: 38

Lade Owenview full entry

Reference: see eBay listing 25.1.21:
ORIGINAL FRAMED WATERCOLOUR ON PAPER ON BOARD BY WELL KNOWN TASMANIAN ARTIST OWEN G LADE .
THE ARTWORK IS TITLED " APPROACH TO CROKETT'S BEACH, SCHOUTEN ISLAND - WITH BEAR HILL & M/T STOREY. "
IT IS SIGNED AT THE BOTTOM RIGHT.
IT WAS GIVEN AS A GIFT TO MARGARET & HARRY HODGMAN IN 1979.
THE ARTWORK MEASURES 12.5 CMS OR 5 INCHES BY 39.5 CMS OR 8 INCHES.
THE FRAMING BOARD MEASURES 10 3/4 INCHES OR 27.5 CMS BY 16 1/2 INCHES OR 42 CMS.
THE ARTWORK IS IN GOOD CONDITION AND COMES IN IT'S ORIGINAL FRAME WHICH ALSO IS IN GOOD
CONDITION WITH MINOR WEAR.
OWEN GOWER LADE WAS BORN IN HOBART IN 1922 AND IS WELL KNOWN IN TASMANIA AS A PAINTER OF
PORTRAITS AND LANDSCAPES. HE HAS A PARTICULAR FOLLOWING FOR HIS VERY UNIQUE PORTRAITS OF
CHILDREN OFTEN SITTING IN CHAIRS WITH ELONGATED ARMS AND PAINTED ALMOST IN THE DOTTED STYLE.
OWEN RECEIVED ART LESSONS FROM DOROTHY STONER FROM 1933 - 1936 AND THEN ATTENDED ART CLASSES AT THE HOBART TECHNICAL COLLEGE UNDER JACK CARRINGTON SMITH.
HE ENLISTED IN THE AIF IN 1941 AND SERVED UNTIL 1944. HE SPENT SOME TIME WORKING AS A SCIENTIST ON
THE MAINLAND BEFORE RETURNING TO TASMANIA.
OWEN BEGAN PRIVATE ART LESSONS WITH HELEN CRABBE AND THEN STUDIED AT THE LAUNCESTON TECHNICAL
COLLEGE UNDER GEOFF TYSON, ALAN McINTYRE AND DESIDERUS BARRISS FROM 1964-1966, THEN WITH GEOFF TYSON
FROM 1967 - 1970.
HE COMMENCED PAINTING HIS PORTRAITS OF CHILDREN IN 1970.
OWEN LADE HELD MANY SOLO AND JOINT EXHIBITIONS FROM 1955 THROUGH TO 1983.
HE IS REPRESENTED IN COLLECTIONS AT THE ANG, CANBERRA, TMAG, QVMAG, DEVONPORT AG,
COASTAL ART GROUP, BURNIE, NATIONAL TRUST, TASMANIA AND MANY PRIVATE COLLECTIONS.
OWEN LADE PASSED AWAY IN 2007 AT DEVONPORT, TASMANIA.

TITLE: " APPROACH TO CROKETT'S BEACH, SCHOUTEN ISLAND WITH BEAR HILL AND M/T STOREY. "
SIGNED AT BOTTOM RIGHT.

THE ORIGINAL WATERCOLOUR IS IN GOOD CONDITION AND IS IN THE ORIGINAL FRAME WHICH IS IN GOOD CONDITION WITH MINOR WEAR. THE ARTWORK IS SIGNED AT THE BOTTOM RIGHT, IT HAS THE TITLE ON THE REVERSE SIDE. PLEASE CHECK THE PICTURES PROVIDED TO HELP YOU GET A BETTER IDEA OF THE CONDITION AND DESCRIPTION OF THE ARTWORK.
TITLED ON RESERVE SIDE AND SIGNED LOWER RIGHT.
THIS ARTWORK WAS SENT AS A GIFT TO MARGARET & HARRY HODGMAN BY OWEN WHO KNEW HARRY AS AN ART DEALER, AUCTIONEER AND A FRIEND.
IT HAS THE TITLE PLUS MESSAGE TO THE HODGMANS AND IS DATED 1979 ON THE REVERSE SIDE.

Linearview full entry

Reference: Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.
Ref: 38

Aboriginal artview full entry

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

West Vickiview full entry

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

Clarke Mareeview full entry

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

Quilliam Wayneview full entry

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

Simpson Lucyview full entry

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

Ngallametta Mr Jnrview full entry

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

Ngallametta Mr Snrview full entry

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

Jade Mikaelaview full entry

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

Singleton Bernardview full entry

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

Connolly-Northey Lorraineview full entry

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

Nicholls Glendaview full entry

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

Walters Wesview full entry

Reference: see Joels auction sale, Sale LJW8349
Thursday 28 January, 2001, included about 75 works by Wes Walters. lots 3001-3074, including:
Lot 3066 ♡
ARTISTS' SKETCHBOOK BY WES WALTERS C.1948

26 x 22cm

PROVENANCE:
Estate of the Artist

LITERATURE:
Thomas, D., Walters: Art of Realism & Abstraction, Macmillian, 2009, p. 26 (illus. page of sketchbook 'Head Studies')

Walters Renview full entry

Reference: see Joels auction sale, Sale LJW8349
Thursday 28 January, 2001, included about 3 works by Ren Walters, icluding:
Lot 3066 ♡
ARTISTS' SKETCHBOOK BY WES WALTERS C.1948

26 x 22cm

PROVENANCE:
Estate of the Artist

LITERATURE:
Thomas, D., Walters: Art of Realism & Abstraction, Macmillian, 2009, p. 26 (illus. page of sketchbook 'Head Studies') (auction also included 75 works by Wes Walters. lots 3001-3074

Perry Samuel Augustus 1787-1854view full entry

Reference: see Bonhams, Travel & Exploration
10 Feb 2021, London, Knightsbridge, lot 17: ATTRIBUTED TO SAMUEL AUGUSTUS PERRY (LONDON 1787-1854 AUSTRALIA)
A view believed to be towards the Hawkesbury River in New South Wales, Australia
watercolour
22.2 x 32.7cm (8 3/4 x 12 7/8in).
unframed

Maton guitarsview full entry

Reference: Maton: Australia’s Guitar. Exhibition catalogue, Museum of Applied Arts & Sciences. Collection of Wadih Hanna. Over 130 works illustrated.
Publishing details: Museum of Applied Arts & Sciences 2020-21, 12-page folding catlogue
Ref: 38

Hanna Wadih view full entry

Reference: Maton: Australia’s Guitar. Exhibition catalogue, Museum of Applied Arts & Sciences. Collection of Wadih Hanna. Over 130 works illustrated.
Publishing details: Museum of Applied Arts & Sciences 2020-21, 12-page folding catlogue

Johnson Timview full entry

Reference: Public Fitting. [[’Being the artist’s candid shots taken in various outdoor Sydney locations of anonymous young women, their skirts lifted by the wind to reveal their underwear; the book’s contents are in very good condition; loosely inserted is Johnson’s mimeographed 3-page introduction and exegesis of his work, which includes the date, time and precise location of every photograph. The personal copy of renowned Australian photographer Rennie Ellis, accompanied by a handwritten letter from Johnson to Ellis (1 page, quarto) on Johnson’s letterhead with his 54 Albemarle Street, Newtown address: ‘Dear Rennie, glad to hear you like the book. I’m currently teaching out at a co-ed high school and taking hundreds of photographs – illustrating new teaching methods, eroticism, relationships etc. within the school. These’ll eventually come out in book form too. Best wishes, Tim Johnson’.
Rare early work by the important Sydney experimental and conceptual artist Tim Johnson (b. 1947). According to the AGNSW, which also holds the artist’s original 1972 short film of the same title, only 200 copies of Public Fitting were printed.
Even at the time, Public Fitting sailed close to the wind (as it were). It seems reasonable to speculate that if it were published today, Public Fitting would most likely meet with far more opprobrium than it engendered in 1972.
John McDonald in his SMH column, published May 9 2009, wrote:
‘A dedicated documenter of performances, Johnson also had an instinct for publicity and controversy. The actions he called Disclosures (1972) involved people rearranging each others’ clothing, or men and women lying motionless on the floor while the artist lifted their shirts or pulled down their pants. When some of the male participants resisted this was seen as an interesting twist.
One of the Disclosures events caused a stir at the University of Queensland, leading to lurid reports in the Courier Mail – how times have changed! – and questions in Parliament. Nowadays it all seems a bit silly and sordid. The same might be said about Public fitting (1972), a short film and a series of photos of girls accidentally showing their knickers as the wind lifts their mini skirts. In the catalogue Johnson is earnestly described as “exploring eroticism” in these works, but they are things that might amuse snickering teenage boys….’ From Douglas Stewart Fine Books, 2021.]
Publishing details: Newtown, N.S.W. : Tim Johnson, 1972]. Small quarto (252 x 196 mm), original yellow wrappers with stencilled title to front; [1 colophon], [1 title], [40] leaves, all photographic illustrations
Ref: 1000

Dangar Anne et alview full entry

Reference: 4e Exposition de l’Association des Artistes modernes Americains et Anglais. Essay by Bertha Fanning Taylor, list of artists, including the Australian expatriate Anne Dangar. [’Anne Dangar (1 December 1885 – 4 September 1951) was an Australian painter and potter, born in Kempsey on the mid-north coast of New South Wales. From 1906 Dangar studied at te Julian Ashton School and in 1926 she travelled to Paris where she studied at André Lhote’s Academy in Paris, adopting a cubist style. Receiving little recognition during her lifetime, Dangar is now considered one of the pioneers of Australian modernism.
The list of artists involved in this exhibition are Bassett, Bion Barnett, Michael Baxte, William Bradley, Frank Brown, Anne-Marie Case, Mary Caumartin, Ruth Collett, Elisabeth McCord, Lillian Cotton, Francis Day, Helena Day, Hussy Degen, Matilda Dordet, Romilly Fedden, Bessie Gibson, Caroline Hill, Murray Hoffman, Henrietta Hoops, Dorothy Kohlkopp, Elise Lacroix, Norma Leonard, Constance Lloyd, Muriel, M. Norris, Nadine Oxnard, M. Secor Roper, Nadia Sanzewitch, Maud Sumner, Fanning Taylor, Grace Temple, Waldo Wallis, Mary Day-Watrous, John Watson, Anne Dangar, Wilmer Hoffman, Caroline Lloyd, Mariette Mills, Clare Scheridan, Katherine Wallis, E.-T. Rosen, Eugene Vail.
Rare, no copy traced in Australian collections.’ Douglas Stewart Fine Books, 2021]
Publishing details: Paris : Galerie de Paris, 1935. Octavo, single sheet, folded
Ref: 1000

Kngwarreye Emily Kameview full entry

Reference: Emily Kame Kngwarreye : the person and her paintings. Edited by Anne Runhardt; essays researched and written by Victoria King.
Publishing details: Melbourne : Dacou Aboriginal Gallery, 2009. Quarto, illustrated wrappers, pp. 235, small stain upper edge, illustrated.
Ref: 1000

ROAR re-viewedview full entry

Reference: ROAR re-viewed 30 years on, with an introduction by Sasha Grishin. , text by Denise Morgan. The pink boards variant (another version had the boards coloured black). A publication on the Melbourne Roar Studios and the artists who were its contigents. Sasha Grishin not only descirbed ROAR primarily as a cultural phenomenon, as well as an art movement in 1980s Melbourne and also the group of artists who were part of ROAR. Contains text on the artists and their works including Wayne Eager, Sarah Faulkner, Andrew Ferguson, Peter Ferguson, Pasquale Giardino, Karan Hayman, Ann Howie, David Larwill, Michael Nicholls, Jill Noble, Mark Schaller and Judi Singleton.

Publishing details: Melbourne : Macmillan, 2011. Quarto, cloth-covered boards with paste-down illustration, stitching exposed on spine with title (as issued), illustrated thoroughly throughout
Ref: 1000

Smart Sallyview full entry

Reference: Sally Smart : The Unhomely Body series ; Femmage, Shadows and Symptoms series. Published to coincide with the exhibition Sally Smart: Femmage, Shadows and Symptoms, Fukuoka Art Gallery, Fukuoka, Japan, May 1999. Illustrated throughout with reproductions of the artist’s works.
Publishing details: Melbourne : Sally Smart, 1999. Quarto, pictorial wrappers (lightly marked), pp 51.
Ref: 1000

Strachan Davidview full entry

Reference: A survey by David Strachan 1955 – 1968,
catalogue of 48 works. Foreword by Daniel Thomas.
Publishing details: Brisbane : The Johnstone Gallery, 1968. Oblong quarto, illustrated cards, pp. 4,
Ref: 1000

Prizing diversityview full entry

Reference: Prizing diversity : the Josephine Ulrick prizes, 1998-2014, edited by Virginia Rigney and Nigel Krauth. To be indexed] [’This publication celebrates the generosity of two Gold Coast arts identities – Win Schubert and the late Josephine Ulrick – who have, since 1992, sponsored short story, poetry and photography awards administered by the Gold Coast City Gallery and Griffith University.
Here the dichotomy of ‘word and image’ is addressed in a volume that brings visual and literary forms of expression together in an exciting and unusual way. It presents, in chronological order, the prize-winning entries of each year. The photography now forms part of the Gold Coast City Gallery’s notable contemporary photography collection while the winning short stories and poems have frequently gone on to be published in literary journals and anthologies. Of great significance are the judges, who have included major Australian literary figures and leading art photographers and collectors. Their names and comments are included in the book, giving it additional interest to a wide readership. The book has been designed in a way that captures the particular spirit and ambience of the Gold Coast and conveys the characteristics of the special range of talents that these awards attract.
Includes works by Shaun Gladwell, Polixeni Papapetrou, Shayne Higson, Julie Rrap, Jacky Redgate, Darren Sylvester, Liam Benson, John Gollings, and many others

Publishing details: Melbourne : Thames & Hudson Australia, 2015. Quarto, illustrated laminated boards, pp. 271, illustrated.

Amor Rickview full entry

Reference: Rick Amor : standing in the shadows. Exhibition held 8 May-26 June at McClelland Gallery + Sculpture Park. Exhibition curator : Robert Lindsay.
Publishing details: McClelland Gallery+Sculpture Park, 2005. Quarto, illustrated wrappers, pp. 124, illustrated. Printed in an edition of 2000 copies (an additional 100 hardcover copies were also printed

Bromley Davidview full entry

Reference: David Bromley : the story road 2005 Introduction by Ashley Crawford.
Publishing details:
Melbourne : Scott Livesey Art Dealer, 2005. Quarto, illustrated wrappers, pp. 40, colour illustrations throughout.
Ref: 1000

Warren Alanview full entry

Reference: Alan Warren 1919 – 1991 Exhibition Essay by Christopher Heathcote.
Publishing details: Melbourne : Eastgate Gallery, 1992. Quarto, wrappers (rubbed), illustrated front, pp. [12], catalogue of 38 works with full colour illustrations.
Ref: 1000

Santiago Marikitview full entry

Reference: see Look magazine, February-March, 2021, artist’s choice of works in the AGNSW. p21-3.
Publishing details: Art Gallery Society of New South Wales, 2021, 81pp

Kennedy Royview full entry

Reference: see Look magazine, February-March, 2021, in article ‘Longing for Home’ by Erin Vink, p35-8
Publishing details: Art Gallery Society of New South Wales, 2021, 81pp

Maynard Ricky photographsview full entry

Reference: see Look magazine, February-March, 2021, in article ‘Longing for Home’ by Erin Vink, p35-8
Publishing details: Art Gallery Society of New South Wales, 2021, 81pp

West Carleneview full entry

Reference: see Look magazine, February-March, 2021, in article ‘Longing for Home’ by Erin Vink, p35-8
Publishing details: Art Gallery Society of New South Wales, 2021, 81pp

Tiatia Angelaview full entry

Reference: see Look magazine, February-March, 2021, in article ‘I have the power’, p40-43
Publishing details: Art Gallery Society of New South Wales, 2021, 81pp

Tiatia Angelaview full entry

Reference: see Look magazine, February-March, 2021, in article ‘I have the power’, p40-46
Publishing details: Art Gallery Society of New South Wales, 2021, 81pp

Hinder Margelview full entry

Reference: see Look magazine, February-March, 2021, article ‘Certain principles’ by Geoffrey Batchen on upcoming exhibition at the AGNSW.
Publishing details: Art Gallery Society of New South Wales, 2021, 81pp

Woodward Margaretview full entry

Reference: see Look magazine, February-March, 2021, article p60-64
Publishing details: Art Gallery Society of New South Wales, 2021, 81pp

Perceval John angel with trumpet ceramicview full entry

Reference: see Look magazine, February-March, 2021, in article p66-7
Publishing details: Art Gallery Society of New South Wales, 2021, 81pp

Potosi Rubenview full entry

Reference: see Auction Lifem February 17, 2021,
Loxahatchee, FL, US, lot Lot 225: RUBEN POTOSI CARVED WOOD MOTHER & CHILD SCULPTURE, Australian artist. Hand carved figure of a mother holding a child. Signed "Rubén Potosi" & "/93". Measures 9-1/2" H x 6" W x 5" D. Weighs 2lbs., 4oz. U.S. SHIPPING $20 + INSURANCE.

Richmond Oliffeview full entry

Reference: Oliffe Richmond drawings : the Australian years 1937-1948 by Christa E. Johannes. "Tasmanian Museum and Art Gallery, Hobart 23 August-8 October 1989. Queen Victoria Museum and Art Gallery, Launceston 19 October-10 December 1989'. Bibliography: p. 11.
Publishing details: Tasmanian Museum and Art Gallery, 1989, 36 p. : chiefly ill.
Ref: 1009

Up front : faces of Australia at warview full entry

Reference: Up front : faces of Australia at war. Includes bibliographical references. [to be indexed]
Publishing details: Canberra : Australian War Memorial, 1998
32 p. : col. ports
Ref: 1009

war artview full entry

Reference: see Up front : faces of Australia at war. Includes bibliographical references.
Publishing details: Canberra : Australian War Memorial, 1998
32 p. : col. ports

102 collection of Australia's leading cartoonistsview full entry

Reference: The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

cartooningview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Zulumovski Veraview full entry

Reference: The embellished image Vera Zulumovski a ten year survey / Vera Zulumovski ; curator, Nick Mitzevich. "This catalogue accompanies the exhibition 'The Embellished Image' Vera Zulumovski a ten year survey, held at the School of Fine Art Gallery, The University of Newcastle, November, Nineteen Ninety Nine" -- back page. Foreword, Anne Graham ; Introduction, Roger Butler.
Publishing details: Newcastle, NSW : University of Newcastle. School of Fine Art, 1999
80 p.
Ref: 1009

McPhee Barbaraview full entry

Reference: from https://www.msmcphee.com/about
‘McPhee’ online magazine
is a collaboration between three old school friends with an eye on today's art world and a heart for its past. Named in memory of the late Mrs Barbara McPhee, our infamous high school art teacher, McPhee is co-edited by Tara Marynowsky, Bonnie Porter Greene and Rob Maconachie.
Barbara McPhee taught art to students of Nowra High School from the 1960s until her retirement in the early 2000s. A stringent disciplinarian, passionate modernist and no-nonsense horsewoman, she has remained a memorable if not ominous figure for the generations of budding artists and future art world professionals who passed through her classroom.
Mrs McPhee was old, weather-beaten and tough as nails like the Quentin Blake illustrations in Roald Dahl stories. Her clothes were sensible, her grey hair always in a bun and she had an unusual bent index finger which, when thrust towards an accused student would result in utter confusion and mayhem as no one was quite sure to whom the finger was actually pointing. In this way almost every kid endured being kicked out of class - nose against the wall in the corridor, totally shamed. To us her disciplinary methods seemed extreme. She was not to be messed with, but it was here we first learnt about art.
"Brancusi", "Mondigliani", "Whiteley", "Brack", "Nolan" were names first heard spoken by her; the more exotic sounding surnames of the Modern European Masters tumbling from her age-worn lips like precious turtle eggs. Other senses were also stimulated which earned her the unfair monicker, "Metho Breath."
Mrs McPhee may have been tough, but she was our first introduction to the possibilities that can emerge from making, looking at and discussing art. We would like to thank her for inspiring us and dedicate these pages to her memory.

Sharpe Wendyview full entry

Reference: see ‘Spirit of the occasion - Painter Wendy Sharpe delves into otherworldly inspiration.’ By John McDonald.
Publishing details: Sydney Morning Herald, 30-31 February, 2021, Spectrum, p 6.

Sharpe Wendyview full entry

Reference: Wendy Sharpe: Ghostsis at Mosman Art Gallery until March 7.
Publishing details: Mosman Art Gallery, 2021 [catalogue details to be added]
Ref: 1000

Heimans Ralphview full entry

Reference: see Sydney Morning Herald, 30-31 February, 2021, Spectrum, p8-9, ‘Expat Australian Ralph Heimans has become the artist of choice among Europe’s nobility.’
Publishing details: Sydney Morning Herald, 30-31 February, 2021, Spectrum,

Piccinini Patriciaview full entry

Reference: see Sydney Morning Herald, 30-31 February, 2021, Good Weekend, p12-15, article by Konrad Marshall.
Publishing details: Sydney Morning Herald, 30-31 February, 2021,

Biographical Dictionary of the history of Australian Artistic & Technical Achievement view full entry

Reference: A Biographical Dictionary of the history of Australian Artistic & Technical Achievement (Part 1), Eve Buscombe (Edited by)
Publishing details: The Power Institute The University of Sydney, 1979, pb

Kingston Ceramicsview full entry

Reference: Kingston Ceramics, by Nigel Erskine. A Dictionary of Ceramic Wares in the Norfolk Island Museum.
Publishing details: Norfolk Island Museum. 2003. Ill.wrapps. 104pp. Many colour illustrations.
Ref: 1000

Ceramics Kingston view full entry

Reference: see Kingston Ceramics, by Nigel Erskine. A Dictionary of Ceramic Wares in the Norfolk Island Museum.
Publishing details: Norfolk Island Museum. 2003. Ill.wrapps. 104pp. Many colour illustrations.

Sharp Martinview full entry

Reference: Catalogue No.3. Part of a continuing expedition. ‘Profusely illustrated by Sharp in his inimitable idiosyncratic style. Van Gogh appears as a talisman on the cover of this book prepared for a Sydney show of Sharp’s work. Created organically by his thoughts and ideas at the end of each working day. Handwritten passages, pieces cut from magazines, reviews of his work as well as cartoons and photos against a backdrop of line drawings.’ (From Antique Bookshop, February, 2021)
Publishing details: Syd. Reid Books. 1971. 4to. Heavily illustrated wrappers. 36pp.
Ref: 1000

Ashton Robertview full entry

Reference: Into the hollow mountain – a portrait of Fitzroy in 1974. ‘21 photographic prints, each measuring 305 x 430 mm (sheet) from Ashton’s acclaimed series, each signed lower right and titled lower left, cover sheet with contact prints of all the images, manuscript title, signed by the artist, edition Folio 1.
‘I didn’t really understand at the time that the Fitzroy I had moved into was already deep inside a cultural and historical shift, a moment of transition that had been slowly building for some years … even by 1973, Fitzroy had begun to change. During the late 1960s, a rich multilingual community of hardship and glory had been knocked over to make way for the housing commission flats abutting Gertrude Street.’ – the artist
In 1974 Melbourne photographer Robert Ashton shot on film a series of images in the working class migrant suburb of Fitzroy. Now fully gentrified with a vibrant night life and high priced real estate, in the seventies Fitzroy was without any pretence of being other than what it was, a community of low paid blue collared workers, with families and businesses which served the local residents. In his landmark series, Ashton captures the life of this community, the daily activities of the residents and the character of the locality. Ashton’s photographs were published in a low budget photobook in 1974 titled Into the hollow mountain (Outback Press, 1974), launched alongside another landmark Australian photobook A book about Australian women by Virginia Fraser and Carol Jerrems. Now rare and sought after by photography collectors, the print quality was poor quality and never displayed Ashton’s skill as a photographer to it’s full effect.
‘In the early 1970s, Robert Ashton shared house with Carol Jerrems and Ian Macrae in Mozart Street, St Kilda, their artist associates being Ingeborg Tyssen, Paul Cox and Bill Heimerman, and Ashton’s cousin Rennie Ellis with whom he shared a studio in Greville Street, Prahran. From 1974 to 1981, Ashton was assistant director at Ellis’s Brummels Gallery in Toorak Road, South Yarra, where he also exhibited. Photography curator Judy Annear notes that; “Robert Ashton’s work is typical of the highly personalised documentary photographs that began to emerge in the 1970s.”‘ – https://peoplepill.com/people/robert-ashton-1/’ from Douglas Stewart Fine Books, 2021]
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Parsons Elizabeth 1831-1897view full entry

Reference: see Douglas Stewart Fine Books, 2021:
Untitled [Bush scene with waterfall]. 1881.
Watercolour on paper, 240 x 345 mm (image and sheet), signed and dated in image l.r. ‘E. Parsons 1881’; a few tiny surface abrasions, otherwise very good condition; laid down on its original board mount, with a later gilt frame.
Elizabeth Parsons (1831-1897) – also known as Mrs. George Parsons – was a significant but under-recognised female colonial artist working in Melbourne and Victoria in the 1870s and 1880s. She was a founding member of the Australian Artists’ Association. Examples of Parsons’ work are held in the NGA, NGV and SLV.
This previously unrecorded plein air watercolour possibly depicts one of the numerous waterfalls on the western side of the Yarra Ranges, a locality in which Parsons is known to have painted.
References:
Caroline Ambrus. Australian women artists : First Fleet to 1945 : history, hearsay and her say. Canberra : Irrepressible Press, 1992.
Joan Kerr (ed.). Heritage : The national women’s art book. Sydney : Art in Australia, 1995.
From the DAAO:
‘Elizabeth Parsons, painter and lithographer, was born on 27 September 1831, daughter of George and Elizabeth Warren of Holly Lodge, Isleworth, England. She trained with the Newcastle-on-Tyne watercolourist Thomas Miles Richardson, then with James Duffield Harding (some studies are in one of her sketchbooks). Later she studied in Paris and ‘at the famous artists’ colony of Barbizon’. Some paintings done at the last accompanied her to Australia; in 1881 she showed At Fontainebleau (‘a harmonious study of rocks and vegetation – an infinitesimal section of the lovely domain which artists so revel in’) with the Art Society of NSW. One of her sketchbooks (D-M 2001) includes views at Fontainebleau. She was a successful painter and art teacher in England until 1866 when, aged 35, she married architect George Parsons, a widower with two sons. They had a daughter and four more sons.
In 1870 the family migrated to Victoria. At first they lived in Carlton, then settled in St Kilda. Despite being listed as ‘amateur’, Mrs George Parsons (the name under which she generally exhibited, though she signed her work ‘E.P.’) gained immediate attention for her work. James Smith of the Argus generously noted that her watercolour views of English scenery were ‘very solid and free for a lady’s hand’. In December 1870 she had five watercolours of Devonshire scenery (‘of conspicuous merit’) in the first exhibition of the Victorian Academy of Arts (VAA). A watercolour of the University of Melbourne is dated 1871. She exhibited oil and watercolour landscapes regularly with the VAA and in 1875 was elected to the Council – its first woman member. She also exhibited with the NSW Academy of Art. Her Lilydale views, shown in the 1877 exhibition, were ranked among the best watercolours by the Sydney Mail art critic who preferred them to her oils – apart from Girl at the Well . Later that year James Smith noted in the Argus (17 March 1877, p.8) the ‘bright, transparent and truly Australian’ atmosphere of her View from Berwick Hill .
Although her oils were less experimental than her watercolours (LT), Parsons’s paintings were usually called ‘broad’ in treatment and generally praised, although few critics appreciated her novel interest in capturing an impressionistic light that bleached and simplified motifs. In 1875 a reviewer commended her ‘boldness and dash of treatment’ simply because it was such a relief ‘after the insignificant stippeling [sic] employed by the majority of artists’. In 1881 another stated that her watercolour Sketch at Lorne (shown in the Fine Arts Court at the 1880 Melbourne International Exhibition with eight other works) was no more than ‘a rough blot’, yet ‘a blot which is very telling when it is looked at from a little distance’. The previous year both her oils and watercolours had been admired for their ‘natural breezy freshness, telling of a close study of atmospheric effect’.
Parsons was committed to working directly from the subject. In a paper read before the Australian Church Ladies’ Reading Club, she stated: ‘The rules of art are few and simple, but Nature is subtle and so infinitely various, and her effects so beyond the power of memory, that the artist should have constant recourse to the ever-changing beauties.’ Her work demanded attention because it so vividly displayed her thorough English and French (especially French) training. Nevertheless, a review in the Sydney Mail (26 July 1884) typifies the most common form of lukewarm praise: ‘In landscapes the lady painters are not on a level with some of the male members; but the works of Mrs George Parsons are quite equal to the average.’ She asked appropriately low ladies’ work prices. In 1876 her oils cost five or ten guineas and her watercolours two or three guineas.
Well before the area became inextricably identified with the ‘Heidelberg School’, she showed two highly praised Views at Heidelberg in the first exhibition of the Sydney Art Society (December 1880). In 1884-85 she showed landscapes near Lake Wakatipu in Sydney after a trip to New Zealand. (NZ watercolours, photographs and other memorabilia were in one of her Deutscher-Menzies albums.) Along with Tom Roberts , Arthur Streeton et al. she was a founding member of the highly professional Australian Artists’ Association in Melbourne, where she had solo shows in 1885 and 1896 (a catalogue of the latter was in the D-M sale, 2001). Along with artists of a younger generation Parsons was a member of the Buonarotti Club, a source of semi-bohemian culture in Melbourne in the late 1880s (see Bonyhady The Colonial Earth and McQueen Tom Roberts ). After its demise she founded and was president of a society for young artists called ‘Stray Leaves’. She also published drawing books appropriate for Australian students; they contain freely sketched lithographs of the semi-rural outskirts of Melbourne.
Three Australian views ‘treated in the lady’s usual free and easy style’ were included in the 1873 London International Exhibition and there is some speculation that she was also included in the 1875 Melbourne Intercolonial Exhibition. One English oil and two Australian watercolour subjects by her were part of Victoria’s offerings to the 1876 Philadelphia Centennial Exhibition, while two oils and three watercolours were shown at Sydney’s 1879-80 International Exhibition. She had three oils in the 1880-81 Melbourne Centennial International, six watercolours in the 1884 Victorian Jubilee Exhibition and was also well represented in the 1888-89 Melbourne Centennial International Exhibition. 10 of her watercolour views were sent to the 1886 Colonial and Indian Exhibition in London and one oil painting. The latter, now known as Point Ormond, St Kilda but then titled Red Bluff 1881 (LT), was one of three Australian paintings illustrating R.A.L. Stevenson’s review of the colonial works in the Magazine of Art . It was, he said: ‘another work inspired by study of good schools … composed and arranged with taste and method; and the colour is laid on in good broad washes.’ In 1920 a large posthumous exhibition of Parsons’s work was held at Decoration Galleries, Melbourne.
Despite this impressive career and oeuvre Parsons remains little known. Public collections hold only a few of her finished paintings, but have numerous sketches (LT) and a drawing book of St Kilda views (NGA). Many of her larger paintings remain with descendants, although these have been increasingly appearing on the market. In 1993 her Louttit Bay, near Lorne, Victoria (1879) was for sale at $16,500. Her luminous and detailed rural landscape, Afternoon Walk 1876, oil on canvas 32 × 47 cm, was offered by Sotheby’s Melbourne on 28 November 2000, lot.172 (ill.), estimate $4,000-6,000. Two of her albums containing over 600 watercolours and drawings done in Britain, Australia and New Zealand were offered at Deutscher-Menzies in August 2001, estimate $15,000-$20,000. The six watercolours illustrated in the catalogue (p.48) were: Heidelberg ; Sydney Road near Park Gates 1872; Brighton Beach 1888; Circular Quay, Sydney ; St Kilda road ; The Hotel at Healesville.’
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Gregory George Frederick (1821-1887)view full entry

Reference: see Douglas Stewart Fine Books, 2021:
Scene of the Wreck “Loch Ard”. Photo’d for the Proprietors of the New Sensation Confectionery Depot, 30 Victoria Arcade, from an original Painting by Gregory, in their possession.
[Circa 1878]. Albumen print photograph of an artwork, carte de visite format, 63 x 101 mm, recto with imprint of ‘T. Noble & Co. Photo. 81 Bourke St. East’; verso with Noble’s elaborate studio back mark covered by the publisher’s printed label worded: ‘Scene of the Wreck “Loch Ard”. Photo’d for the Proprietors of the New Sensation Confectionery Depot, 30 Victoria Arcade, from an original Painting by Gregory, in their possession’; the albumen print and edges of the mount with very light foxing, otherwise fine condition.
A rare and desirable piece of Loch Ard ephemera.
We can trace no other example of this carte de visite by Timothy Noble, published by the New Sensation Confectionery Depot of Melbourne. The painting which it depicts – which it seems reasonable to attribute to marine artist George Frederick Gregory (see below) – was only one of numerous depictions of the shipwreck painted by contemporary artists. However, we have not been able to uncover any details of the painting’s history: was it lost or destroyed at some point or has it survived? It is not among the extant works by Gregory held in Australian public collections.
The wreck of the Loch Ard was one of the most infamous events in Australia’s maritime history, and the story quickly entered Australian folklore. On 1 June 1878, the Loch Ard, en route from England to Melbourne, was wrecked on rocks in a storm off Victoria’s southwest coast. Of the 17 crew and 37 passengers, there were only two survivors: young Thomas Pearce and Eva Carmichael. (In the lower right foreground of the painting photographed on this carte de visite the artist has depicted Tom carrying Eva to safety). Pearce was awarded a medal and a financial reward for saving Eva from the heavy surf after she had clung to one of ship’s spars for several hours. The most precious object in the ship’s cargo – a magnificent porcelain peacock by Minton, which was intended for display in the Melbourne International Exhibition – was miraculously salvaged from the wreck intact.
From the ANMM website:
‘George Frederick Gregory (1821 – 1887) was born in the south England and worked as a draughtsman before joining the Royal Navy as a ship’s carpenter. He was posted on a brig off East Africa apprehending illegal slave trade ships and served on HMS VICTORY and HMS NELSON. One of the subjects of his early paintings was the East India Company paddle-steamer NEMESIS, on which he voyaged to China in 1839-40.
Gregory then joined HMS CALLIOPE on a voyage to Australia at the height of the Gold rush period and he jumped ship in Hobson’s Bay – the setting for several later paintings. By 1854 Gregory had established himself as a marine painter. He received commissions from sailors and new immigrants who wanted a record of the vessel in which they had sailed out to the Australian colonies.
Gregory married and had two sons, George Frederick (junior) and William. He remarried after his first wife died in the 1860s and had a third son, Arthur Victor. Both George Frederick and Arthur Victor were to become prominent maritime artists in their own right.
The boys assisted their father in stretching papers, preparing colours and washing skies. George Frederick junior, who moved to Adelaide in 1890, used a similar signature to his father, as well as a similar style, which has resulted in some confusion in attributions.
Gregory painted almost exclusively in watercolours and highlights of gouache. He used washes over pencil outlines with a confident brush, though with such as style and medium many of his works have faded. Most of his work consisted of sailing ship profiles, though he did paint some naval battles, shipwrecks, steam ships, fleets and other compositions.
His work was highly accurate in detail and as an experienced sailor and draughtsman, quite technical. He often placed recognisable geographic features in his paintings and they varied greatly in size. His output was vast and several of his major works were exhibited.
Gregory lived in Melbourne bayside suburbs from 1872 until his death in 1887 and painted almost exclusively in Melbourne, Victoria.’

Tait R Gview full entry

Reference: Sketches at the Diamond Jubilee Charity Carnival. Supplement to the Chinese Australian Herald [Guang Yi Hua Bao], September 3rd, 1897.
‘The first known Chinese backed newspaper was the Chinese Australian Herald (1894-1923) which was established in Sydney in 1894. In Chinese it was called Guang Yi Hua Bao or “Paper for extending benefits to the public”. It was jointly funded by two Europeans, G. A. Down and J. A. Philp, and a Chinese immigrant Sun Johnson. This newspaper was funded through advertising from major Australian firms and [introduced] its Chinese readers [to] western cultures in its 30 year lifespan. At its peak it had about 800 long-term subscribers and a distribution of thousands in Australia, New Zealand and the Pacific islands.’ (The Chinese Museum, Melbourne).

Publishing details: Sydney : Chinese Australian Herald, 1897]. Separately issued broadsheet, 440 x 285 mm, printed on both sides in black ink on white paper, recto with illustration signed ‘R. G. Tait’ in the image at lower right, captioned across lower margin ‘Sketches at the Diamond Jubilee Charity Carnival’; verso with advertisement for The Polytechnic, 82 King Street, Sydney, with title in English and text body in Chinese characters
Ref: 1000

Kerb Your Dogview full entry

Reference: Kerb Your Dog. Seventh number in the annual compilation of artist’s writings, founded by John Young in 1983. This issue features the works of Jenny Watson, John Nixon, Tim Johnson, Aleks Danko, Robert MacPherson, Mike Parr, Tony Clark, Peter Cripps, Peter Tyndall, John Young, Ken Unsworth etc.

Publishing details: Sydney : Kerb your dog, 1990. Quarto, lettered wrappers (marked), unpaginated, artist’s text, poetry and images. Printed in an edition of 100 copies, this is number 44.
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Kerb Your Dogview full entry

Reference: Kerb Your Dog. [all issues to be indexed] Features the works of Jenny Watson, John Nixon, Tim Johnson, Aleks Danko, Robert MacPherson, Mike Parr, Tony Clark, Peter Cripps, Peter Tyndall, John Young, Ken Unsworth etc.

Publishing details: Sydney : 1980s-1990s
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May & Herbert Gibbs : the people, the placesview full entry

Reference: May & Herbert Gibbs : the people, the places. A study on the famous children’s illustrator and her artist father in Perth.
Publishing details: Perth : The May Gibbs Trust, 2000. Octavo, illustrated wrappers, slight bump to lower corner, pp. 32, illustrated.
Ref: 1009

Gibbs May view full entry

Reference: see May & Herbert Gibbs : the people, the places. A study on the famous children’s illustrator and her artist father in Perth.
Publishing details: Perth : The May Gibbs Trust, 2000. Octavo, illustrated wrappers, slight bump to lower corner, pp. 32, illustrated.

Gibbs Herbert view full entry

Reference: see May & Herbert Gibbs : the people, the places. A study on the famous children’s illustrator and her artist father in Perth.
Publishing details: Perth : The May Gibbs Trust, 2000. Octavo, illustrated wrappers, slight bump to lower corner, pp. 32, illustrated.

Nicoll Fred J illustratorview full entry

Reference: Teddy gives a party. Pretty Pat and Troublesome Teddy series no. 6.
Publishing details: Melbourne : Ramsay, Ware Publishing Pty. Ltd., [1943]. Quarto, illustrated cards (a little stained, loss to one corner), pp. 16,
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Connor Desview full entry

Reference: Bush Party and Mother Goose Island by J. W. Heming, Illustrated by Des Connor. Children’s story with Aboriginal characters.
Publishing details: Sydney : The Currawong Publishing Co., circa 1940. Octavo, illustrated wrappers (edges chipped), pp. 64, illustrated.
Ref: 1000

Crozier Fay illustratorview full entry

Reference: Gumleaf farm, Illustrated by Fay Crozier. Pam and her golliwog, Sambo, visit a country farm, where they are shown around by a pair of friendly koalas.
Publishing details: Hobart : Davies Brothers, circa 1940. Small quarto, illustrated boards with cloth spine (corners worn, rubbed), inscriptions to endpaper, pp. [30], illustrated in colour and black and white.
Ref: 1000

Beaumaris Modernview full entry

Reference: Beaumaris Modern : modernist homes in Beaumaris
Publishing details: Melbourne : Melbourne Books, 2018. Quarto, laminated boards, patterned endpapers, pp. 176, illustrated.
Ref: 1000

architecture in Beaumaris view full entry

Reference: see Beaumaris Modern : modernist homes in Beaumaris
Publishing details: Melbourne : Melbourne Books, 2018. Quarto, laminated boards, patterned endpapers, pp. 176, illustrated.

Hinder Margelview full entry

Reference: Margel Hinder : Modern in Motion. Edited by Lesley Harding and Denise Mimmocchi. [’Margel Hinder: Modern in Motion is the first dedicated retrospective of one of the most important and dynamic, yet underrated, Australian sculptors of the 20th century.
Margel Hinder (1906–95) initially worked in woodcarving in the 1930s but by the early 1950s she shifted to an abstract sculptural language that explored form, space, light and movement. She created commanding kinetic works whose slow rotations encapsulate a sense of the world in perpetual motion.
Hinder also created some of Australia’s most enduring outdoor monuments, incorporating the movement of water into her sculptural forms.
Presented by the Art Gallery of New South Wales and Heide Museum of Modern Art, Margel Hinder: Modern in Motion includes an immersive installation that reconstructs in lifescale several of her most significant works to convey their power and complexity to audiences.
Published to coincide with the exhibition at the Art Gallery of New South Wales, this beautifully presented publication is co-edited by Lesley Harding, artistic director at Heide Museum of Modern Art and Denise Mimmochi, senior curator of Australian art at the Art Gallery of NSW.’]

Publishing details: AGNSW, 2021, Hardcover, 204 pages.

Ramsay Hughview full entry

Reference: Hugh Ramsay by Deborah Hart. [’Hugh Ramsay is an artist who deserves to be better known nationally and internationally. While he was anchored in the figurative tradition of the late nineteenth century, his brilliant capacity to distil his subjects, to take us into the variability of the art of self-portraiture and to emphasise the act of making, has endeared him to many artists. This publication sheds light on the remarkable body of work he created in his tragically short life. Though Ramsay died at 28 years of age, his story is one of great courage, tenacity and artistic achievement.’]Includes bibliographical references.
Publishing details: National Gallery of Australia, 2019, 240 pages : illustrations (some colour)

Kelly Nicoleview full entry

Reference: For what binds, exhibition invite with brief essay and 1 illustration.
Publishing details: Arthouse Gallery, 2021, 2pp
Ref: 1000

Ettelson Jamesview full entry

Reference: Are we there yet? - exhibition invite with brief essay and 1 illustration.
Publishing details: Arthouse Gallery, 2021, 2pp
Ref: 1000

Connor Kevinview full entry

Reference: see Art Gallery of NSW website for:
Kevin Connor
Portrait of a quiet man, Robert Eadie, painter
oil and charcoal on canvas
Dimensions
242 x 196cm

Artist Robert Eadie is a friend of Kevin Connor’s. They have coffee together most mornings at a café near Connor’s studio. ‘I’ve done quite a few drawings there’, says Connor. ‘I was doing a drawing of someone else sitting in that seat and then one morning I walked past and Robert was sitting there so I decided to put his head on the drawing. Then I got him to sit for me. It came quite naturally. I didn’t plan to paint him, he just arrived.’
Born in Sydney in 1941, Eadie has been exhibiting since the 1960s. He has been a finalist in the Archibald Prize five times and has also been represented several times in the Wynne and Sulman prizes. Last year he had a solo exhibition at King Street Gallery on Burton.
‘I have always liked his work’, says Connor. ‘I remember around 20 years ago when I was a trustee of the Art Gallery of New South Wales arguing for one of his paintings to be included in the Wynne Prize, I think it was. He’s somebody I’ve always admired – what you’d call an artist’s artist. He’s also an extremely quiet man who doesn’t seek the limelight, a gentle character.’
Connor was born in Sydney in 1932, where he has lived and worked for most of his life aside from periods of extensive travel around Europe, the US and the Middle East. His work concerns the life of the city and its people. He has held 58 solo exhibitions. In 2006 an exhibition of his work, Sketchbooks: drawings and studies for painting and sculpture, was held at the Art Gallery of New South Wales. Other exhibitions at this gallery include a survey of paintings and drawings 1947–1988 (1989), his Sydney Harbour paintings (1988), his portraits (1988), and his drawings (1996 and on tour). He was a Harkness Fellow from 1966 to 1968 and served as an AGNSW trustee from 1981 to 1987. Connor won the Archibald Prize in 1975 and 1977, the Sulman Prize in 1991 and 1997, and the Dobell Drawing Prize in 1993 and 2005.

Eadie Robertview full entry

Reference: see Art Gallery of NSW website for:
Kevin Connor
Portrait of a quiet man, Robert Eadie, painter
oil and charcoal on canvas
Dimensions
242 x 196cm

Artist Robert Eadie is a friend of Kevin Connor’s. They have coffee together most mornings at a café near Connor’s studio. ‘I’ve done quite a few drawings there’, says Connor. ‘I was doing a drawing of someone else sitting in that seat and then one morning I walked past and Robert was sitting there so I decided to put his head on the drawing. Then I got him to sit for me. It came quite naturally. I didn’t plan to paint him, he just arrived.’
Born in Sydney in 1941, Eadie has been exhibiting since the 1960s. He has been a finalist in the Archibald Prize five times and has also been represented several times in the Wynne and Sulman prizes. Last year he had a solo exhibition at King Street Gallery on Burton.
‘I have always liked his work’, says Connor. ‘I remember around 20 years ago when I was a trustee of the Art Gallery of New South Wales arguing for one of his paintings to be included in the Wynne Prize, I think it was. He’s somebody I’ve always admired – what you’d call an artist’s artist. He’s also an extremely quiet man who doesn’t seek the limelight, a gentle character.’
Connor was born in Sydney in 1932, where he has lived and worked for most of his life aside from periods of extensive travel around Europe, the US and the Middle East. His work concerns the life of the city and its people. He has held 58 solo exhibitions. In 2006 an exhibition of his work, Sketchbooks: drawings and studies for painting and sculpture, was held at the Art Gallery of New South Wales. Other exhibitions at this gallery include a survey of paintings and drawings 1947–1988 (1989), his Sydney Harbour paintings (1988), his portraits (1988), and his drawings (1996 and on tour). He was a Harkness Fellow from 1966 to 1968 and served as an AGNSW trustee from 1981 to 1987. Connor won the Archibald Prize in 1975 and 1977, the Sulman Prize in 1991 and 1997, and the Dobell Drawing Prize in 1993 and 2005.

Deirmendjian Gary view full entry

Reference: Gary Deirmendjian - A Prevailing Sense of Disquiet. [’is a visually rich and multi-voiced introduction to the work and practice of Gary Deirmendjian, a compelling and original voice in the realm of contemporary art.
His unusual mode of practice has produced an extensive body of work that is often described as beguiling, thought-provoking and socially concerned. His work tends towards shared space, existing in public as poised suggestions in direct friction with daily life, often challenging audiences with their scale and immersive qualities.

Deirmendjian is equally at ease with the physical brutality and tonnage of quarrying megaliths and impossibly arranging shipping containers, as he is working with the delicacy of yarn and ephemerality of social media. As diverse as his artistic output might be, it stems from a certain unity of intent – given rise by felt thought and realised through virtuosic touch.’]
Publishing details: Hardie Grant Books, 2020, hc, 200pp
Ref: 1000

Deirmendjian Gary view full entry

Reference: from Dominik Mersch Gallery website:
Gary Deirmendjian is a sharp observer of the present, finding pockets of unsettling beauty through different forms, including sculpture, site-specific installation, photographs and video work. His unusual mode of practice has produced an extensive body of work that is often described as beguiling, thought-provoking and socially concerned. Deirmendjian’s work involves shared space, existing in public as poised suggestions in direct friction with daily life, sometimes involving suspended shipping containers, local refuse, or LED screens pulsing across building facades. They often challenge audiences with their scale and immersive qualities. His practice also operates on an intimate scale, involving visceral, finely-sculpted heads that fit in the palm of your hand. At the heart of his broad-ranging practice is a gentle yet unflinching view of existence as a kind of arrival. Artist and critic John Adair describes his works as “a poetic response; often dark, melancholic, but not without hope.”
Gary Deirmendjian has exhibited extensively across Australia and has received notable awards and commissions for both private and public artworks across the world. He has been invited to exhibit in Sculpture by the Sea, Contour 556, ARoS Aarhus Kunstmuseum, and on the Wynscreen at Wynyard Station on numerous occasions. Deirmendjian has also been asked to judge public art awards himself, most recently the FIVEX Art Prize.
Publishing details: https://www.dominikmerschgallery.com/artist/gary_deirmendjian/

Deirmendjian Gary view full entry

Reference: see Sandstone Sydney by Gary Deirmendjian
Publishing details: Craftsman House, 2002, hc, dw, 144 pages.

Olsen Timview full entry

Reference: Son of the Brush, by Tim Olsen. [to be indexed] [’A frank and revealing memoir by the son of Australia's greatest living painter.
Tim Olsen is the son of arguably Australia's greatest living artist, Dr John Olsen. Son of the Brush is his fascinating, candid memoir of what it was like to grow up in the shadow of artistic genius, with all its wonder, excitement and bitter disappointments.

Tim's childhood was dominated by his father's work, which took the family to Europe and to communities around Australia as John sought inspiration and artistic fellowship. Wine, food, conversation and the emerging sexual freedom of the 1960s wove a pattern of life for the family. It was both the best and worst of childhoods, filled with vibrancy and stimulation, yet fraught with anxiety and eventual sadness as John separated from Tim's mother Valerie and moved away from the family.

The course of Tim's life has been set by the experiences of his childhood, and by the passion for art he inherited from both his parents (his mother was an acclaimed painter in her own right). His life has always been about art, although he has followed a different path from his parents. Having overcome and recovered from addiction, Tim is today one of Australia's most respected gallery owners, with a knowledge of art and artists forged from what is literally a lifetime immersed in the art world.

Son of the Brush is a memoir about a son and his father, and what it takes to forge your own identity and chart your own course in life, but it is also about the wider world of art, artists and the joy, inspiration and sacrifices of the creative life.’]
Author bio:
Tim Olsen is one of Australia's most recognised and respected art identities and successful gallery owners. Son of Australia's national living treasure, artist Dr John Olsen, A.O. O.B.E., Olsen was born into a life of modern and contemporary art.

He established his own Gallery in 1993, which has rapidly expanded to become one of Sydney's leading galleries today, marking his contribution and commitment to the Australian art scene. He not only has supported the careers of many of Australia's leading established artists but also has nurtured the creative lives of many emerging artists who can presently include themselves as being very much part of the art establishment today.

Tim has been a foundation member of the AGNSW for over 15 years and is dedicated to its restoration department and also a major donor and benefactor to the MCA. He has been a patron of the King's School Art Prize for over twenty-five years and since 2000, sponsored the annual Tim Olsen Drawing Prize at UNSW, School of art and design. He is on the foundation board of the University of New South Wales, and on the board of the National Art School in East Sydney.
Publishing details: Allen & Unwin, 2020, 496pp
Ref: 1000

Olsen Johnview full entry

Reference: see Son of the Brush, by Tim Olsen. [’A frank and revealing memoir by the son of Australia's greatest living painter.
Tim Olsen is the son of arguably Australia's greatest living artist, Dr John Olsen. Son of the Brush is his fascinating, candid memoir of what it was like to grow up in the shadow of artistic genius, with all its wonder, excitement and bitter disappointments.

Tim's childhood was dominated by his father's work, which took the family to Europe and to communities around Australia as John sought inspiration and artistic fellowship. Wine, food, conversation and the emerging sexual freedom of the 1960s wove a pattern of life for the family. It was both the best and worst of childhoods, filled with vibrancy and stimulation, yet fraught with anxiety and eventual sadness as John separated from Tim's mother Valerie and moved away from the family.

The course of Tim's life has been set by the experiences of his childhood, and by the passion for art he inherited from both his parents (his mother was an acclaimed painter in her own right). His life has always been about art, although he has followed a different path from his parents. Having overcome and recovered from addiction, Tim is today one of Australia's most respected gallery owners, with a knowledge of art and artists forged from what is literally a lifetime immersed in the art world.

Son of the Brush is a memoir about a son and his father, and what it takes to forge your own identity and chart your own course in life, but it is also about the wider world of art, artists and the joy, inspiration and sacrifices of the creative life.’]
Author bio:
Tim Olsen is one of Australia's most recognised and respected art identities and successful gallery owners. Son of Australia's national living treasure, artist Dr John Olsen, A.O. O.B.E., Olsen was born into a life of modern and contemporary art.

He established his own Gallery in 1993, which has rapidly expanded to become one of Sydney's leading galleries today, marking his contribution and commitment to the Australian art scene. He not only has supported the careers of many of Australia's leading established artists but also has nurtured the creative lives of many emerging artists who can presently include themselves as being very much part of the art establishment today.

Tim has been a foundation member of the AGNSW for over 15 years and is dedicated to its restoration department and also a major donor and benefactor to the MCA. He has been a patron of the King's School Art Prize for over twenty-five years and since 2000, sponsored the annual Tim Olsen Drawing Prize at UNSW, School of art and design. He is on the foundation board of the University of New South Wales, and on the board of the National Art School in East Sydney.
Publishing details: Allen & Unwin, 2020, 496pp

Martin Frankview full entry

Reference: see State Line Auctions & Estate Services,
Canaan, CT, USA, 15 Feb, 2021, lot 300: ‘AdvanceAustralia Fair’, lithograph numbered 38/40, signed Frank Martin’. [Depicts women in various period swimming costumes].

Rudd Charles photographerview full entry

Reference: see For sale on Wednesday 10 Feb, 2021,
Padova, Italie, Bado e Mart Auctions, lot 320 Australia. Seven albumin photos glued on cardboard by Charles RUDD.

Seven albumin photos glued on cardboard by Charles RUDD.1849-1901

1. Bourke St. Melbourne (West Side)Albumin photo, 212x138 mm. Glued on cardboard. Good specimen. 1886-1887
2. Collins St. Looking West from William St.Albumin photo, 212x138 mm. Glued on cardboard. Good specimen. 1886-1887
3. Houses of Parliament Spring St. Melbourne.Albumin photo, 212x138 mm. Glued on cardboard. Good specimen. 1886-1887
4. Exhibition Building Melb.Albumin photo, 212x138 mm. Glued on cardboard. Below on margin the written in pen: “Vues of Melbourne”. Good specimen. 1886-1887
5. Paquet Australien (Mar. Marit.)Albumin photo, 275x232 mm. Title written with a pen on the below margin. Glued on cardboard. Good specimen. 1886-1887
6. Collins St. from Spring St.Albumin photo, 215x138 mm. Glued on cardboard. Good specimen. 1886-1887
7. Port Melbourne Railway Pier.Albumin photo, 211x136 mm. Glued on cardboard. Slight tear on left margin. Good specimen. 1886-1887

7 fotografie all’albumina incollate su cartoncino di CHARLES RUDD.

Hinchcliff George Frederick view full entry

Reference: see Roseberys
February 23, 2021, 11:00 AM GMT
West Norwood, United Kingdom, lot 95, George Frederick Hinchcliff, Australian/British 1894-1962- Greco-Roman, c.1939; oil on buff coloured paper, 71x42cm: together with a further drawing by the same artist in charcoal and coloured crayon entitled Ballet Dance, c.1940, 66x50cm. (2) (ARR) Provenance: The studio of the artist, according to the stamps on the reverse of the frames [and lot following]

Kelly Johnview full entry

Reference: John Kelly: Painting & Sculpture exhibition at Smith & Singer. The exhibition will feature 11 works by the artist and will be open to the public Monday–Saturday, 10 am – 5 pm, 15 February – 12 March 2021 at 14-16 Collins Street, Melbourne. [’During the past two and a half decades, Kelly has developed a distinguished reputation in Australia and internationally for his work, which combines his unique intellect and humour. Bristol born, Kelly moved to Australia with his parents in 1965, the same year he was born. Kelly now resides in West Cork, Ireland and has English, Australian and Irish nationality. It was during his time in Australia that Kelly developed his affinity with one of his most recognised subjects, William Dobell’s camouflaged cows – created when, during World War II, Dobell was commissioned to make paper-mâché cows with the purpose of confusing enemy aircraft about the locations of Australian airbases.’]
Publishing details: online exhibition: https://www.smithandsinger.com.au/catalogue/AUEX026
Ref: 1000

Roneview full entry

Reference: RONE in Geelong. [’Geelong-born artist RONE has built a reputation for large-scale wall paintings and immersive installations that explore concepts of beauty and decay.
Chart the artist’s practice from early stencil works and street art, to his latest site-specific installation, in which RONE will transform a room within Geelong Gallery in response to the architecture and history of the building.’]
Publishing details: Geelong Art Gallery, 2021
Ref: 1000

Reynolds P Eview full entry

Reference: see Joels Sale LJW8351, 11 February 2021, lot 3114 P. E. REYNOLDS, SYDNEY, CHROMOLITHOGRAPH, 32 X 83CM
Estimate $250-500 [no further details catalogued]

Allen Jeff cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Aitchison Michael cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Alexander Jock cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Anthony Michael cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Aragon Edd cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Badden Earl cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Bailey Kevin cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Bateup Ross cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Batten Theo cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Benier Frank cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Best Paul cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Bisson Roy cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Brook Adam cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Bromley David cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Brown Warren cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Carney Graham cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Carroll Ernie cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Chatto Keith cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Clark Gary cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Clement Rod cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Cornell Philip cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Dare Peter cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

David Mark cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Dixon John cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Dixon Les cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Dove Victor cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Edwards Tony cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Emerson David cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Emerson Ken cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Everingham Henry cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Fletcher Roger cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Finey George cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Fitzjames Michael cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Foley Max cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Foyle Lindsay cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Gaskill Dave cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Green William Ellis cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Harrigan Peter cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Heimann Rolf cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Henning Chris cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Hetherington Norman cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Hook G R cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Johnson Franklin cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Jolliffe Eric cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Jones Ian cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Kaiser Ulf cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Kemp Rik cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Kemsley James cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Kennedy Scott cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Knight Mark cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Langoulant Allan cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Lea Neriss cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Leahy Sean cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Leak Bill cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Lindesay Vane cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Llewellyn Janis cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Locanto Pascual cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Lynch Mark cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Lynch Reg cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

McCrae Stewart cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Matterson Neil cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Martin Matthew cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Maynard Ken cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Milde Michael cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Milligan Patrick cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Mitchell Bill cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Moir Alan cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Moore Neil cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Moses John cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Morcom Verdon cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

O’Neill Edward (Ward) cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Parv Paulcartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Oliphant Pat cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Parv Paul cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Petty Bruce cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Peverill Ralph cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Pilcher Mathew cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Postruzin Louis cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Rafty Tony cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Reeves Peter cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Rickwood Barry cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Rigby Paul cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Roberts Victoria cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Russell Dan cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Russell Jim cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Salisbury Allan cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Shakespeare John cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Somerville Phil cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Spooner John cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Sprod George cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Stanley Stephen cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Stephens Craig cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Stewart-Killick Hugh cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Swain David cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Stomann Allan cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Tandberg Ron cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Tanner John cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Thorby John cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Valenzuela Humberto cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Walsh Rob cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Wedd Monty cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Zanetti Paul cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Zmak Luciano cartoonistview full entry

Reference: see The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-]
[54] p. : ill.

Ashton Robertview full entry

Reference: BUSH THEATRE : TWENTY AMBROTYPES by ROBERT ASHTON (2020)
From Douglas Stewart Fine Books, 2021:
We are proud to present 20 superb ambrotypes (glass plate wet collodion positives) by acclaimed Australian photographer Robert Ashton, from his 2020 series Bush Theatre. Each glass plate is direct from the camera and unique.

Noakes Philipview full entry

Reference: Noakes Philip, exhibition at Australian Galleries. [’The true passion of an artist always manifests itself in a finished work and the unique pieces created by Philip Noakes have earned him well-deserved recognition as one of the outstanding contemporary jewellers, goldsmiths and silversmiths working in this country. He has gained an unrivalled reputation as a consummate craftsman and innovative artist, and his work is highly sought after by collectors and galleries, and for exhibitions.
Philip’s creative imagination is reflected in his designs that are influenced by the changing environment in which he finds himself. Like every artist, his practice is forged from a combination of discovered aptitudes and happy accidents; where it starts is often circumstantial but where it finishes is always unique and hard won. This miraculous process conjures up beautiful objects from hollow forms that are transformed into closed containers, bowls that seem to float and lavish sculptural objects, all with elaborate textures created by hammering, oxidising and heat treatments to enliven their surfaces.
This is Philip’s first solo exhibition with Australian Galleries.]
Publishing details: Australian Galleries, 2021 [catalogue details to be included]
Ref: 1000

Wilson Edwinview full entry

Reference: Exhibition: EDWIN WILSON OAM, FRAS,
20 February to 13 March 2021, “Mullumbimby Revisited”, Official Opening TUESDAY 23 February 7 pm for 7.30 pm by
JOHN MCDONALD, SMH Art Critic. [’EDWIN WILSON will exhibit 71 paintings in his swan song solo exhibition at
ARTARMON GALLERIES. This major exhibition across a period of 60 years brings a breath of fresh air to our lockdown of last year.

It is Edwin’s intense enthusiasm for the natural world of the Mullumbimby mountains, the plants and sky which introduces us to the magical world of colour and texture in his paintings.

When he paints the human form he applies character traits which challenge or inform us to understand what evoked that vision. It is true that Edwin’s kaleidoscopic range of his ouvre has many whimsical elements which will endure through time and taste.’]

Publishing details: Artarmon Galleries, 2021,
Ref: 1000

Swann Heather Bview full entry

Reference: ‘Heather B Swann, ‘Breathing down your neck’.
[’We are pleased to launch the highly anticipated exhibition of works by Heather B. Swann this evening from 6-8pm. The show will be officially opened by Professor Sasha Grishin AM, FAHA The Sir William Dobell Professor of Art History, Australian National University.

David Hansen has written a brilliant overview about Heather's work which we have included below:

Breathing down your neck

In this exhibition, Heather B. Swann lays bare one of her central preoccupations" wilderness and containment, and the nexus or relationship between the beast and the body.

Animals appear often in the artist's work; creatures both wild and domesticated, cunning and dumb, with their physical features refined or intensified, abstracted or hybridised.

Here in Bone we encounter three particular favourites.

The dog has long been a significant brute presence in Swann's work, from her earliest undergraduate etchings to more recent Romanesque-surrealist sculptures such as Dog Eat Dog (2005, Dubbo Regional Gallery) and the 2007 City of Melbourne Laneways project, Gates of Hell. Then there is the rat, standing on its hind legs and sniffing the air, which has featured in many drawings as well as in the pack of Ratties of 2005 (private collection). Finally, there is the relatively recent addition to the artist's menagerie, the skyhook-tailed monkey which we see in Grinderman (2008, private collection) and Hook (2009 National Gallery of Australia).

But this trio are more than just comfortable familiars. These particular species have been adopted by the artists because of their dark sides, their bad reputations: the snarling, barking, growling, howling canine; the dirty rat of sexual and economic opportunism, of sewers and gangsterism; the lewd, loud incorrigible, mischievous ape. They are troublemakers.

In these works not only is there the possibility of anthropomorphic reading, the possibility that each figure might stand for a particular attitude or emotional or intellectual position. The long history of human interaction with these guys is such as to have produced a rich store of linguistic and pictorial metaphor: the low dog, the black dog, the mad dog, the lap dog; the rat race, rats leaving sinking ships, rats we can smell; the cheeky monkey business in the margins of medieval manuscripts, the monkey on your back of addiction or obsession, the monkey the the long tail of a mortgage. These are not rudderless, cute animalia.

There is also something deeper, something primal happening here. Swann emphasizes this mythic dimension through the three beasts' essential dependence on a human climbing frame of reference. This is fauna in your face, on your back, breathing down your neck, gnawing on your bones; the dog, the rat and the monkey require a structure for their fierce play of dominance and submission.

Swann provides just such zoo-enclosure furniture in the current installation's hard, osseous core, a suite of variously abstracted human backbones: a long torso racked over a wooden wedge to create a strange form somewhere between a vaulting horse, an avil, the pommel of a saddle and a Chinese footbinding shoe; a couple of Duchampian bisexual bicycle wheel vertebra-rings; a massive metacarpal woman knuckle; a corset laced, dark, upright tower; and that familiar, ferocious atavism of sexual coupling, a Rabelaisian-Shakespearean 'beast with two backs'.

Here in this dream space, in the beast mistress 'Platonic cave, homo sapiens' fragile, temporary, frontal-lobe dominance of the earth is revealed as a very nervous system indeed, little more than a pattern of shifting profiles, a vague, ambiguous spinal x-ray, a dance of evolutionary shadows.

David Hansen
Melbourne, January 2011

The exhibition runs until April 30, 2011’]
Publishing details: Karen Woodbury Gallery, 2011
Ref: 1000

Whiteley Brettview full entry

Reference: Alchemy
Publishing details: Art Gallery of New South Wales, [publishing details to be added]
Ref: 1000

McCahon Colinview full entry

Reference: There is Only One Direction, Vol. I 1919-1959, by Peter Simpson. [’Colin McCahon (1919-1987) was New Zealand's greatest twentieth-century artist. Through landscapes, biblical paintings and abstraction, the introduction of words and Maori motifs, McCahon's work came to define a distinctly New Zealand modernist idiom. Collected and exhibited extensively in Australasia and Europe, McCahon's work has not been assessed as a whole for thirty-five years. In this richly illustrated two-volume work, written in an accessible style and published to coincide with the centenary of Colin McCahon's birth, leading McCahon scholar, writer and curator Peter Simpson chronicles the evolution of McCahon's work over the artist's entire forty-five-year career. Simpson has enjoyed unprecedented access to McCahon's extensive correspondence with friends, family, dealers, patrons and others. This material enables us to begin to understand McCahon's work as the artist himself conceived it. Each volume includes over three hundred illustrations in colour, with a generous selection of reproductions of McCahon's work (many never previously published), plus photographs, catalogue covers, facsimiles and other illustrative material. This will be the definitive work on New Zealand's leading artist for many years to come.’]
Publishing details: 2019, 360pp
Ref: 1000

McCahon Colinview full entry

Reference: This the Promised Land?: Vol.2 1960-1987, by Peter Simpson. [’[’The second of an extraordinary two-volume work chronicling forty-five years of painting by our most important artist, Colin McCahon. Colin McCahon (1919-1987) was New Zealand's greatest twentieth-century artist. Through landscapes, biblical paintings and abstraction, the introduction of words and Maori motifs, McCahon's work came to define a distinctly New Zealand modernist idiom. Collected and exhibited extensively in Australasia and Europe, McCahon's work has not been assessed as a whole for thirty-five years. In this richly illustrated two-volume work, written in an accessible style and published to coincide with the centenary of Colin McCahon's birth, leading McCahon scholar, writer and curator Dr Peter Simpson chronicles the evolution of the artist's work over McCahon's entire forty-five-year career. Simpson has enjoyed unprecedented access to McCahon's extensive correspondence with friends, family, dealers, patrons and others. This material enables us to begin to understand McCahon's work as the artist himself conceived it. Each volume includes over three-hundred illustrations in colour, with a generous selection of reproductions of McCahon's work (many never previously published), plus photographs, catalogue covers, facsimiles and other illustrative material. These books will be the definitive work on New Zealand's leading artist for many years to come.’]
Publishing details: 2020, 400pp
Ref: 1000

Endeavour Voyageview full entry

Reference: Endeavour Voyage - The Untold Stories of Cook and the First Australians [to be indexed]

Publishing details: National Museum of Australia, 2020, 200pp
Ref: 1000

Cook artistsview full entry

Reference: see Endeavour Voyage - The Untold Stories of Cook and the First Australians

Publishing details: National Museum of Australia, 2020, 200pp

Nellview full entry

Reference: Nell / series editor: Natalie King. [’Mini Monographs series.
Summary Nell is one of the most in-demand artists of 2020. Inspired by rock'n'roll, buddhism and the edges of life and death, Nell's art dazzles and confronts at every level. This addition to the Mini Monographs series, celebrating Australian female artists, has an introduction by Robert Forster, of The Go-Betweens. Mini Monographs artists and works are selected with series editor Natalie King, curator and Enterprise Professor at the Victorian College of the Arts. They comprise 96 pages of the artist's favourite works - designed for optimum visual impact and to reach anyone who is inspired by art and beauty.The extra frisson for these titles comes in the introduction. For each monograph, one luminary from another field will write a personal, powerful essay of 1200 words. It could be an ode to one particular painting; it could be a parallel narrative inspired by themes in the artist's work.’]
Publishing details: Port Melbourne, Victoria : Thames & Hudson Australia, 2020, 95 pages : chiefly colour illustrations, portrait
Ref: 1000

Through Artists’ Eyesview full entry

Reference: Through the artists' eyes : the Lester Prize - the Black Swan years / text by Dr Shelley Craddock. The Black Swan Prize for Portraiture was born from humble beginnings in 2006 in a small tin shed in Western Australia. Through an incredible journey of passion and determination it is now one of Australia's richest portrait prizes, with thousands of people visiting the exhibition at the Art Gallery of Western Australia each year. In 2019 the Black Swan Prize was rechristened the Lester Prize and this book, Through The Artists' Eyes was created to document and showcase the pivotal Black Swan Prize years (2007-2018). This exquisite visual-arts book includes stunning photos of winning artworks, the artists' stories, and the self-doubt, rejection and inspiration behind many of Australia's finest artists.
Publishing details: The Lester Inc, 2019, 242 pages : illustrations (chiefly colour), portraits (chiefly colour)
Ref: 1000

Burton Cassandraview full entry

Reference: see Through the artists' eyes : the Lester Prize - the Black Swan years / text by Dr Shelley Craddock. The Black Swan Prize for Portraiture was born from humble beginnings in 2006 in a small tin shed in Western Australia. Through an incredible journey of passion and determination it is now one of Australia's richest portrait prizes, with thousands of people visiting the exhibition at the Art Gallery of Western Australia each year. In 2019 the Black Swan Prize was rechristened the Lester Prize and this book, Through The Artists' Eyes was created to document and showcase the pivotal Black Swan Prize years (2007-2018). This exquisite visual-arts book includes stunning photos of winning artworks, the artists' stories, and the self-doubt, rejection and inspiration behind many of Australia's finest artists.
Publishing details: The Lester Inc, 2019, 242 pages : illustrations (chiefly colour), portraits (chiefly colour)

Nafisaview full entry

Reference: see Through the artists' eyes : the Lester Prize - the Black Swan years / text by Dr Shelley Craddock. The Black Swan Prize for Portraiture was born from humble beginnings in 2006 in a small tin shed in Western Australia. Through an incredible journey of passion and determination it is now one of Australia's richest portrait prizes, with thousands of people visiting the exhibition at the Art Gallery of Western Australia each year. In 2019 the Black Swan Prize was rechristened the Lester Prize and this book, Through The Artists' Eyes was created to document and showcase the pivotal Black Swan Prize years (2007-2018). This exquisite visual-arts book includes stunning photos of winning artworks, the artists' stories, and the self-doubt, rejection and inspiration behind many of Australia's finest artists.
Publishing details: The Lester Inc, 2019, 242 pages : illustrations (chiefly colour), portraits (chiefly colour)

Hewitt Nigelview full entry

Reference: see Through the artists' eyes : the Lester Prize - the Black Swan years / text by Dr Shelley Craddock. The Black Swan Prize for Portraiture was born from humble beginnings in 2006 in a small tin shed in Western Australia. Through an incredible journey of passion and determination it is now one of Australia's richest portrait prizes, with thousands of people visiting the exhibition at the Art Gallery of Western Australia each year. In 2019 the Black Swan Prize was rechristened the Lester Prize and this book, Through The Artists' Eyes was created to document and showcase the pivotal Black Swan Prize years (2007-2018). This exquisite visual-arts book includes stunning photos of winning artworks, the artists' stories, and the self-doubt, rejection and inspiration behind many of Australia's finest artists.
Publishing details: The Lester Inc, 2019, 242 pages : illustrations (chiefly colour), portraits (chiefly colour)

Ciemitis Peterisview full entry

Reference: see Through the artists' eyes : the Lester Prize - the Black Swan years / text by Dr Shelley Craddock. The Black Swan Prize for Portraiture was born from humble beginnings in 2006 in a small tin shed in Western Australia. Through an incredible journey of passion and determination it is now one of Australia's richest portrait prizes, with thousands of people visiting the exhibition at the Art Gallery of Western Australia each year. In 2019 the Black Swan Prize was rechristened the Lester Prize and this book, Through The Artists' Eyes was created to document and showcase the pivotal Black Swan Prize years (2007-2018). This exquisite visual-arts book includes stunning photos of winning artworks, the artists' stories, and the self-doubt, rejection and inspiration behind many of Australia's finest artists.
Publishing details: The Lester Inc, 2019, 242 pages : illustrations (chiefly colour), portraits (chiefly colour)

Capistrano Kristoneview full entry

Reference: see Through the artists' eyes : the Lester Prize - the Black Swan years / text by Dr Shelley Craddock. The Black Swan Prize for Portraiture was born from humble beginnings in 2006 in a small tin shed in Western Australia. Through an incredible journey of passion and determination it is now one of Australia's richest portrait prizes, with thousands of people visiting the exhibition at the Art Gallery of Western Australia each year. In 2019 the Black Swan Prize was rechristened the Lester Prize and this book, Through The Artists' Eyes was created to document and showcase the pivotal Black Swan Prize years (2007-2018). This exquisite visual-arts book includes stunning photos of winning artworks, the artists' stories, and the self-doubt, rejection and inspiration behind many of Australia's finest artists.
Publishing details: The Lester Inc, 2019, 242 pages : illustrations (chiefly colour), portraits (chiefly colour)

Stubbs Dawnview full entry

Reference: see Through the artists' eyes : the Lester Prize - the Black Swan years / text by Dr Shelley Craddock. The Black Swan Prize for Portraiture was born from humble beginnings in 2006 in a small tin shed in Western Australia. Through an incredible journey of passion and determination it is now one of Australia's richest portrait prizes, with thousands of people visiting the exhibition at the Art Gallery of Western Australia each year. In 2019 the Black Swan Prize was rechristened the Lester Prize and this book, Through The Artists' Eyes was created to document and showcase the pivotal Black Swan Prize years (2007-2018). This exquisite visual-arts book includes stunning photos of winning artworks, the artists' stories, and the self-doubt, rejection and inspiration behind many of Australia's finest artists.
Publishing details: The Lester Inc, 2019, 242 pages : illustrations (chiefly colour), portraits (chiefly colour)

Lewer Richardview full entry

Reference: see Through the artists' eyes : the Lester Prize - the Black Swan years / text by Dr Shelley Craddock. The Black Swan Prize for Portraiture was born from humble beginnings in 2006 in a small tin shed in Western Australia. Through an incredible journey of passion and determination it is now one of Australia's richest portrait prizes, with thousands of people visiting the exhibition at the Art Gallery of Western Australia each year. In 2019 the Black Swan Prize was rechristened the Lester Prize and this book, Through The Artists' Eyes was created to document and showcase the pivotal Black Swan Prize years (2007-2018). This exquisite visual-arts book includes stunning photos of winning artworks, the artists' stories, and the self-doubt, rejection and inspiration behind many of Australia's finest artists.
Publishing details: The Lester Inc, 2019, 242 pages : illustrations (chiefly colour), portraits (chiefly colour)

Dean Iainview full entry

Reference: see Through the artists' eyes : the Lester Prize - the Black Swan years / text by Dr Shelley Craddock. The Black Swan Prize for Portraiture was born from humble beginnings in 2006 in a small tin shed in Western Australia. Through an incredible journey of passion and determination it is now one of Australia's richest portrait prizes, with thousands of people visiting the exhibition at the Art Gallery of Western Australia each year. In 2019 the Black Swan Prize was rechristened the Lester Prize and this book, Through The Artists' Eyes was created to document and showcase the pivotal Black Swan Prize years (2007-2018). This exquisite visual-arts book includes stunning photos of winning artworks, the artists' stories, and the self-doubt, rejection and inspiration behind many of Australia's finest artists.
Publishing details: The Lester Inc, 2019, 242 pages : illustrations (chiefly colour), portraits (chiefly colour)

Callum Marcusview full entry

Reference: see Through the artists' eyes : the Lester Prize - the Black Swan years / text by Dr Shelley Craddock. The Black Swan Prize for Portraiture was born from humble beginnings in 2006 in a small tin shed in Western Australia. Through an incredible journey of passion and determination it is now one of Australia's richest portrait prizes, with thousands of people visiting the exhibition at the Art Gallery of Western Australia each year. In 2019 the Black Swan Prize was rechristened the Lester Prize and this book, Through The Artists' Eyes was created to document and showcase the pivotal Black Swan Prize years (2007-2018). This exquisite visual-arts book includes stunning photos of winning artworks, the artists' stories, and the self-doubt, rejection and inspiration behind many of Australia's finest artists.
Publishing details: The Lester Inc, 2019, 242 pages : illustrations (chiefly colour), portraits (chiefly colour)

Coad Rachelview full entry

Reference: see Through the artists' eyes : the Lester Prize - the Black Swan years / text by Dr Shelley Craddock. The Black Swan Prize for Portraiture was born from humble beginnings in 2006 in a small tin shed in Western Australia. Through an incredible journey of passion and determination it is now one of Australia's richest portrait prizes, with thousands of people visiting the exhibition at the Art Gallery of Western Australia each year. In 2019 the Black Swan Prize was rechristened the Lester Prize and this book, Through The Artists' Eyes was created to document and showcase the pivotal Black Swan Prize years (2007-2018). This exquisite visual-arts book includes stunning photos of winning artworks, the artists' stories, and the self-doubt, rejection and inspiration behind many of Australia's finest artists.
Publishing details: The Lester Inc, 2019, 242 pages : illustrations (chiefly colour), portraits (chiefly colour)

Vodesil-Baruffi Janaview full entry

Reference: see Through the artists' eyes : the Lester Prize - the Black Swan years / text by Dr Shelley Craddock. The Black Swan Prize for Portraiture was born from humble beginnings in 2006 in a small tin shed in Western Australia. Through an incredible journey of passion and determination it is now one of Australia's richest portrait prizes, with thousands of people visiting the exhibition at the Art Gallery of Western Australia each year. In 2019 the Black Swan Prize was rechristened the Lester Prize and this book, Through The Artists' Eyes was created to document and showcase the pivotal Black Swan Prize years (2007-2018). This exquisite visual-arts book includes stunning photos of winning artworks, the artists' stories, and the self-doubt, rejection and inspiration behind many of Australia's finest artists.
Publishing details: The Lester Inc, 2019, 242 pages : illustrations (chiefly colour), portraits (chiefly colour)

Barbouttis Antoinetteview full entry

Reference: see Through the artists' eyes : the Lester Prize - the Black Swan years / text by Dr Shelley Craddock. The Black Swan Prize for Portraiture was born from humble beginnings in 2006 in a small tin shed in Western Australia. Through an incredible journey of passion and determination it is now one of Australia's richest portrait prizes, with thousands of people visiting the exhibition at the Art Gallery of Western Australia each year. In 2019 the Black Swan Prize was rechristened the Lester Prize and this book, Through The Artists' Eyes was created to document and showcase the pivotal Black Swan Prize years (2007-2018). This exquisite visual-arts book includes stunning photos of winning artworks, the artists' stories, and the self-doubt, rejection and inspiration behind many of Australia's finest artists.
Publishing details: The Lester Inc, 2019, 242 pages : illustrations (chiefly colour), portraits (chiefly colour)

Mansfield Marieview full entry

Reference: see Through the artists' eyes : the Lester Prize - the Black Swan years / text by Dr Shelley Craddock. The Black Swan Prize for Portraiture was born from humble beginnings in 2006 in a small tin shed in Western Australia. Through an incredible journey of passion and determination it is now one of Australia's richest portrait prizes, with thousands of people visiting the exhibition at the Art Gallery of Western Australia each year. In 2019 the Black Swan Prize was rechristened the Lester Prize and this book, Through The Artists' Eyes was created to document and showcase the pivotal Black Swan Prize years (2007-2018). This exquisite visual-arts book includes stunning photos of winning artworks, the artists' stories, and the self-doubt, rejection and inspiration behind many of Australia's finest artists.
Publishing details: The Lester Inc, 2019, 242 pages : illustrations (chiefly colour), portraits (chiefly colour)

Tweedie Markview full entry

Reference: see Through the artists' eyes : the Lester Prize - the Black Swan years / text by Dr Shelley Craddock. The Black Swan Prize for Portraiture was born from humble beginnings in 2006 in a small tin shed in Western Australia. Through an incredible journey of passion and determination it is now one of Australia's richest portrait prizes, with thousands of people visiting the exhibition at the Art Gallery of Western Australia each year. In 2019 the Black Swan Prize was rechristened the Lester Prize and this book, Through The Artists' Eyes was created to document and showcase the pivotal Black Swan Prize years (2007-2018). This exquisite visual-arts book includes stunning photos of winning artworks, the artists' stories, and the self-doubt, rejection and inspiration behind many of Australia's finest artists.
Publishing details: The Lester Inc, 2019, 242 pages : illustrations (chiefly colour), portraits (chiefly colour)

Aitkin Benjaminview full entry

Reference: see Through the artists' eyes : the Lester Prize - the Black Swan years / text by Dr Shelley Craddock. The Black Swan Prize for Portraiture was born from humble beginnings in 2006 in a small tin shed in Western Australia. Through an incredible journey of passion and determination it is now one of Australia's richest portrait prizes, with thousands of people visiting the exhibition at the Art Gallery of Western Australia each year. In 2019 the Black Swan Prize was rechristened the Lester Prize and this book, Through The Artists' Eyes was created to document and showcase the pivotal Black Swan Prize years (2007-2018). This exquisite visual-arts book includes stunning photos of winning artworks, the artists' stories, and the self-doubt, rejection and inspiration behind many of Australia's finest artists.
Publishing details: The Lester Inc, 2019, 242 pages : illustrations (chiefly colour), portraits (chiefly colour)

Drew Peterview full entry

Reference: Poster boy : a memoir of art and politics / Peter Drew. [’'When you're sneaking around the city at night you feel like a kid again. The seriousness of the world is unmasked as a series of facades, dead objects just waiting to be painted. I was immediately hooked. Out on the street I could say anything I wanted. So what did I want to say?' Peter Drew's posters are a familiar sight across Australia - his 'Real Australians Say Welcome' and 'Aussie' campaigns took on lives of their own, attaining cult status and starting conversations all over the country. But who made them, and why? In this irresistible and unexpected memoir, Peter Drew searches for the answers to these questions. He traces the links between his creative and personal lives, and discovers surprising parallels between Australia's dark, unacknowledged past and the unspoken conflict at the core of his own family. Packed full of Peter Drew's memorable images, Poster Boy is an intelligent, funny and brutally honest dive into the stew of individual, family and national identity. It's about politics and art, and why we need them both. And it's about making a mark.’]
Publishing details: Black Inc., [2019] , 245 pages : illustrations, portraits
Ref: 1000

Bertoli Damianoview full entry

Reference: Continuous Moment by Damiano Bertoli. Continuous Moment by Damiano Bertoli is the first major book on the work of this Melbourne artist. It articulates an ongoing investigation into how artists negotiate the past, present, and future through their ideas and objects. Damiano Bertoli questions the nature of art-making itself by placing his own and others work in a continuum. The book contains essays by Justin Clemens, Helen Hughes, Helen Johnson, Chris Sharp, Nick Papas and Liza Vasiliou.
Damiano Bertoli is born and raised in Melbourne, Australia where he resides to this day.
Publishing details: Surpllus, 2018
Ref: 1000

Garifalakis Tony view full entry

Reference: Dirt / Tony Garifalakis
Publishing details: Fitzroy, Vic. : Gertrude Contemporary Art Spaces, [2003]
[4] p. : ill.
Ref: 1000

Garifalakis Tony view full entry

Reference: Tony Garifalakis - Mutual Assured Destruction. Mutual Assured Destruction is the first major book on Australian artist Tony Garifalakis’s work. This volume gives a comprehensive insight into the artist’s practice, including his well-known ‘Cover Ups’ and ‘Mob Rule’ series, as well as important early photocopied works and wall paintings, and rarely seen works from the archives. The book features essays by Melbourne-based cultural studies scholar Nikos Papastergiadis and Mexico City–based curator Daniel Garza Usabiaga, and an extensive interview with the artist by Melbourne-based curator Mark Feary. Published by Surpllus (Melbourne).
Publishing details: Surpllus, 2020? 236pp
Ref: 1000

Jomantas Vincasview full entry

Reference: Vincas Jomantas, sculpture : McClelland Gallery, 1st July-27th August 1990, Shepparton Art Gallery, 12th Sept.-15th Oct. 1990
Publishing details: McClelland Gallery, 1990,
Ref: 1000

Jomantas Vincasview full entry

Reference: Vincas Jomantas sculptor / Robert Lindsay, Kenneth Scarlett, with contributions by Jane Eckett and an interview with Laima Jomantas. "As an artist who settled in Australia after the Second World War, Vincas Jomantas created a body of over 100 works that directly engaged with both the twentieth century movement towards abstraction and the modernist art environment of Melbourne. He was a founding member of the Centre Five group that helped to nurture and advance appreciation in the community for the new forms of sculpture. At the same time his works articulated a personal symbolic sculptural language that acknowledged his European cultural heritage and in particular the mythology of his native Lithuania. Recognised for his originality, innovation and the meticulous professionalism of his craftsmanship, Jomantas worked with a variety of traditional and contemporary materials, ranging from bronze to polyester resins; however, his preferred medium was wood. He eschewed the preference for welded sheet metal that was the metier of choice for the period, in favour of wood that gave him creative freedom to endow his sculptures with seductive surfaces and intricate designs. Vincas Jomantas' oeuvre is a unique personal statement that was informed by contemporary international art while retaining a deeply personal iconography that has universal applicability."--Dust cover.
Publishing details: The Beagle Press, 2018
180 pages : illustrations (some colour), portraits (some colour)
Ref: 1009

Haxton Elaineview full entry

Reference: Elaine Haxton A colourful artist and life, by Lorraine Penny McLoughlin. [’This book celebrates the extraordinary life of artist Elaine Haxton and illustrates with beautiful reproductions the range and quality of her work, asserting her rightful place as a significant twentieth century Australian artist.

From the time Haxton entered East Sydney Technical College aged 14, art became her passion and her livelihood, and she was always searching and learning. Although based in Sydney, at various times she studied in London, New York, Paris and Kyoto, and experiences in many countries continually expanded her approaches to art.

Through hard work, flair and endless energy, she produced fine work in many spheres, always seriously reviewed and respectfully acclaimed. At the same time, she lived in a social whirl, a darling of the press, but loved and rewarded in the top echelons of the Australian art world.

Lorraine Penny McLoughlin grew up on a farm in the South East of South Australia, an experience which shaped her interests and approaches to life. She began her working life as a teacher, both in Australia and overseas, before moving to a variety of public administration and political positions in Adelaide, mainly in education, the arts and economic development, often involving rural communities. Since retiring, she has taken a lead in the establishment of an arts festival and literary events in her new district of Yankalilla. In her previous biographies of Barbara Robertson, George Tetlow and the Pearses, all local residents at the time of writing, she reveals her love of art and her passion to honour the stories of creative people.’]
Publishing details: Wakefield Press, 2021, 192pp

McGregor Laithview full entry

Reference: Laith McGregor - Archipelago. [’Following on from his epic 2016 book for Perimeter Editions, S-O-M-E-O-N-E, Laith McGregor’s latest publication forges a somewhat unlikely dialogue between the artist’s often divergent processes and aesthetic outcomes. Drawing on two very different but interlinked bodies of work – McGregor’s long-running Island Drawings and more recent Island Collages – the book juxtaposes the Australian artist’s meticulously rendered, monochromatic drawings with his spontaneous, colour-rich and playfully formal collages.

Made in close collaboration with the artist – and published to coincide with a major exhibition at STATION Sydney, in late 2019 – Archipelago skirts a line between artist book and monograph, wrangling McGregor’s works in a loose, intuitive fashion, all the while affording them the critical attention they demand. Featuring an incisive text by prominent Brisbane-based curator and writer Hamish Sawyer, the book sees McGregor continue his at once lively, conceptual, idiosyncratic and methodical explorations of a wider premise that broaches travel, diarism, exoticism, representations of the Pacific and expanded notions of the portrait.

Like much of McGregor’s work, Archipelago feels measured and precise one moment, easy and breezy the next.]
Publishing details: Perimeter Editions, 2020? 72pp
Ref: 1000

Simmonds Brianview full entry

Reference: The Beach, by Brian Simmonds
[’For many Australians, the beach is the place where summer weekends begin and end, where meditative winter walks provide sanctuary from the hustle and bustle, and where families, friends and lovers gather to picnic, watch the sunset or walk the dog. In The Beach, award-winning artist Brian Simmonds explores the beauty and diversity of our coastline, and its role in Australian life. Simmonds’s evocative pastel and pencil illustrations, accompanied by poetry and prose from well-known Australian writers, makes for the perfect gift book for locals and tourists alike.’]

[’A stunning new book from artist Brian Simmonds exploring the variety of Australian beaches.

For many Australians, the beach is the place where summer weekends begin and end, where meditative winter walks provide sanctuary from the hustle and bustle, and where families, friends and lovers gather to picnic, watch the sunset or walk the dog.

In The Beach, award-winning artist Brian Simmonds explores the beauty and diversity of our coastline, and its role in Australian life. Simmonds's evocative pastel and pencil illustrations, accompanied by poetry and prose from well-known Australian writers, makes for the perfect gift book for locals and tourists alike.

About the Author

Brian Simmonds was born in Subiaco and worked for many years as a lithographer in the printing industry while studying art in the evenings. He has a Bachelor of Arts in Fine Art from Curtin University and worked for the Sunday Times, New Idea and an advertising agency before he became a professional artist in 1990. He has exhibited his work many times and won numerous prizes for drawing, oil painting and mixed media works. His work can be found in many private and public collections in Australia.’]
Publishing details: Fremantle Press, 2020, 104pp
Ref: 1000

Hinder Margelview full entry

Reference: Hemisphere magazine, article with illustration of a Hinder work on cover
Publishing details: Hemisphere, May, 1963
Ref: 1000

Victorian watercolours from the Art Gallery of NSWview full entry

Reference: Victorian watercolours : from the Art Gallery of New South Wales / Peter Raissis. A celebration of the glory of British watercolours from the Victorian period. This new book features over eighty artworks by more than seventy artists that represent the glory of British watercolours from the Victorian period. Artists include: Dante Gabriel Rossetti, Edward Burne-Jones, George John Pinwell and Myles Birket Foster. It is the second in a series on prints and drawings drawn from the collection of the Art Gallery of New South Wales. Peter Raissis explores the social, cultural and technical background to watercolour painting in 19th-century Victorian Britain, as well as the reception and appreciation of the medium both in Britain and Australia. Entries on each of the works give insights into the painters' lives and the differing subject matter, ranging from everyday life and landscape to the worlds of fantasy and imagination. Beautifully designed and luxuriously illustrated, this book will appeal to both specialists and a broader audience.
Notes Catalogue of an exhibition held at Art Gallery of New South Wales, Sydney, 2 June - 3 December 2017.
Includes bibliographical references and index.
Publishing details: Art Gallery of New South Wales, 2017,
203 pages : colour illustrations

Brierly Oswald p36-38view full entry

Reference: see Victorian watercolours : from the Art Gallery of New South Wales / Peter Raissis. A celebration of the glory of British watercolours from the Victorian period. This new book features over eighty artworks by more than seventy artists that represent the glory of British watercolours from the Victorian period. Artists include: Dante Gabriel Rossetti, Edward Burne-Jones, George John Pinwell and Myles Birket Foster. It is the second in a series on prints and drawings drawn from the collection of the Art Gallery of New South Wales. Peter Raissis explores the social, cultural and technical background to watercolour painting in 19th-century Victorian Britain, as well as the reception and appreciation of the medium both in Britain and Australia. Entries on each of the works give insights into the painters' lives and the differing subject matter, ranging from everyday life and landscape to the worlds of fantasy and imagination. Beautifully designed and luxuriously illustrated, this book will appeal to both specialists and a broader audience.
Notes Catalogue of an exhibition held at Art Gallery of New South Wales, Sydney, 2 June - 3 December 2017.
Includes bibliographical references and index.
Publishing details: Art Gallery of New South Wales, 2017,
203 pages : colour illustrations

Chevalier Nicholas p55-7view full entry

Reference: see Victorian watercolours : from the Art Gallery of New South Wales / Peter Raissis. A celebration of the glory of British watercolours from the Victorian period. This new book features over eighty artworks by more than seventy artists that represent the glory of British watercolours from the Victorian period. Artists include: Dante Gabriel Rossetti, Edward Burne-Jones, George John Pinwell and Myles Birket Foster. It is the second in a series on prints and drawings drawn from the collection of the Art Gallery of New South Wales. Peter Raissis explores the social, cultural and technical background to watercolour painting in 19th-century Victorian Britain, as well as the reception and appreciation of the medium both in Britain and Australia. Entries on each of the works give insights into the painters' lives and the differing subject matter, ranging from everyday life and landscape to the worlds of fantasy and imagination. Beautifully designed and luxuriously illustrated, this book will appeal to both specialists and a broader audience.
Notes Catalogue of an exhibition held at Art Gallery of New South Wales, Sydney, 2 June - 3 December 2017.
Includes bibliographical references and index.
Publishing details: Art Gallery of New South Wales, 2017,
203 pages : colour illustrations

Cook Ebenezer Wake p58-61view full entry

Reference: see Victorian watercolours : from the Art Gallery of New South Wales / Peter Raissis. A celebration of the glory of British watercolours from the Victorian period. This new book features over eighty artworks by more than seventy artists that represent the glory of British watercolours from the Victorian period. Artists include: Dante Gabriel Rossetti, Edward Burne-Jones, George John Pinwell and Myles Birket Foster. It is the second in a series on prints and drawings drawn from the collection of the Art Gallery of New South Wales. Peter Raissis explores the social, cultural and technical background to watercolour painting in 19th-century Victorian Britain, as well as the reception and appreciation of the medium both in Britain and Australia. Entries on each of the works give insights into the painters' lives and the differing subject matter, ranging from everyday life and landscape to the worlds of fantasy and imagination. Beautifully designed and luxuriously illustrated, this book will appeal to both specialists and a broader audience.
Notes Catalogue of an exhibition held at Art Gallery of New South Wales, Sydney, 2 June - 3 December 2017.
Includes bibliographical references and index.
Publishing details: Art Gallery of New South Wales, 2017,
203 pages : colour illustrations

Glover John p100-1view full entry

Reference: see Victorian watercolours : from the Art Gallery of New South Wales / Peter Raissis. A celebration of the glory of British watercolours from the Victorian period. This new book features over eighty artworks by more than seventy artists that represent the glory of British watercolours from the Victorian period. Artists include: Dante Gabriel Rossetti, Edward Burne-Jones, George John Pinwell and Myles Birket Foster. It is the second in a series on prints and drawings drawn from the collection of the Art Gallery of New South Wales. Peter Raissis explores the social, cultural and technical background to watercolour painting in 19th-century Victorian Britain, as well as the reception and appreciation of the medium both in Britain and Australia. Entries on each of the works give insights into the painters' lives and the differing subject matter, ranging from everyday life and landscape to the worlds of fantasy and imagination. Beautifully designed and luxuriously illustrated, this book will appeal to both specialists and a broader audience.
Notes Catalogue of an exhibition held at Art Gallery of New South Wales, Sydney, 2 June - 3 December 2017.
Includes bibliographical references and index.
Publishing details: Art Gallery of New South Wales, 2017,
203 pages : colour illustrations

Hinder Frankview full entry

Reference: see Margel Hinder : Modern in Motion. Edited by Lesley Harding and Denise Mimmocchi. [’Margel Hinder: Modern in Motion is the first dedicated retrospective of one of the most important and dynamic, yet underrated, Australian sculptors of the 20th century.
Margel Hinder (1906–95) initially worked in woodcarving in the 1930s but by the early 1950s she shifted to an abstract sculptural language that explored form, space, light and movement. She created commanding kinetic works whose slow rotations encapsulate a sense of the world in perpetual motion.
Hinder also created some of Australia’s most enduring outdoor monuments, incorporating the movement of water into her sculptural forms.
Presented by the Art Gallery of New South Wales and Heide Museum of Modern Art, Margel Hinder: Modern in Motion includes an immersive installation that reconstructs in lifescale several of her most significant works to convey their power and complexity to audiences.
Published to coincide with the exhibition at the Art Gallery of New South Wales, this beautifully presented publication is co-edited by Lesley Harding, artistic director at Heide Museum of Modern Art and Denise Mimmochi, senior curator of Australian art at the Art Gallery of NSW.’]

Publishing details: AGNSW, 2021, Hardcover, 204 pages.

Shadow Catchersview full entry

Reference: Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)
Ref: 1000

Avery Sidview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Balla Annview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Barth Utaview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Bayer Ireneview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Bing Ilseview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Calle Sophieview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Cauchi Benview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Cotton Oliveview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

de Flaugergues Philiberteview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Dodd Ianview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Douglas Simoneview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Dupain Maxview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Fairskye Merilynview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Finch Spencerview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Frazier Latoya Rubyview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Gaica Brancoview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Gale A Wview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Goodes Henryview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Hasenpflug Hansview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Hermansson Alfredview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Herve Lucienview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Horst P Horstview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Jones Geraldview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Kauffman Johnview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Kertesz Andreview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Kleem Geoffview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Moffatt Tracyview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Molinier Pierreview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Moore Davidview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Morley Lewisview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Morton Callumview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Muholi Zaneleview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Murray Alecview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Overbeck Arnoldview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Pfeiffer Paulview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Phillips Emmaview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Phillipse Ernest Grattanview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Plate Carlview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Pound Patrickview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Puyo Charles Emile Joachim Constantview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Raskopoulos Eugeniaview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Redgate Jackyview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Reisberg Leonieview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Reutlinger Charlesview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Rrap Julieview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Shmith Atholview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Silvy Camilleview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Soda-Jerkview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Stezaker Johnview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Tuckerman F Mview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

van Hout Ronnieview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Viola Billview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

White Minorview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Williams John Fview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Young Coenview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

photographyview full entry

Reference: see Shadow catchers / Isobel Parker Philip (author) ; Faith Chisholm (editor). [’Shadow catchers, part of the Gallery’s Contemporary Collection Projects series, investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
'Shadow catchers' investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image through works by over fifty Australian and international artists from the Art Gallery of New South Wales collection, with a focus on new acquisitions.The exhibition and associated publication contend with the way images can both reflect and refract reality by presenting photographs that use the mirror as a means of duplication and distortion, groups of images that operate as pictorial echoes, studies of split selves, and tributes to the looped structure of cinematic time. The publication comprises an essay by Isobel Parker Philip and focus texts on artists Patrick Pound, Eugenia Raskopoulos, Soda_Jerk and John Stezeker.’]
Publishing details: Art Gallery of New South Wales, 2020
48 pages : illustrations (some colour)

Here We Areview full entry

Reference: Here we are / curator Lisa Catt. Published in association with the exhibition Here we are AGNSW Contemporary collection project / 4, held at the Art Gallery of New South Wales 24 August - 13 October 2019.
Publishing details: Art Gallery of New South Wales, 2019,
55 pages : colour illustrations, portraits
Ref: 1000

Crosby Njideka Akunyiliview full entry

Reference: see Here we are / curator Lisa Catt. Published in association with the exhibition Here we are AGNSW Contemporary collection project / 4, held at the Art Gallery of New South Wales 24 August - 13 October 2019.
Publishing details: Art Gallery of New South Wales, 2019,
55 pages : colour illustrations, portraits

Breitz Candiceview full entry

Reference: see Here we are / curator Lisa Catt. Published in association with the exhibition Here we are AGNSW Contemporary collection project / 4, held at the Art Gallery of New South Wales 24 August - 13 October 2019.
Publishing details: Art Gallery of New South Wales, 2019,
55 pages : colour illustrations, portraits

Bush Kushanaview full entry

Reference: see Here we are / curator Lisa Catt. Published in association with the exhibition Here we are AGNSW Contemporary collection project / 4, held at the Art Gallery of New South Wales 24 August - 13 October 2019.
Publishing details: Art Gallery of New South Wales, 2019,
55 pages : colour illustrations, portraits

Cavaliere Katthyview full entry

Reference: see Here we are / curator Lisa Catt. Published in association with the exhibition Here we are AGNSW Contemporary collection project / 4, held at the Art Gallery of New South Wales 24 August - 13 October 2019.
Publishing details: Art Gallery of New South Wales, 2019,
55 pages : colour illustrations, portraits

Ford Sueview full entry

Reference: see Here we are / curator Lisa Catt. Published in association with the exhibition Here we are AGNSW Contemporary collection project / 4, held at the Art Gallery of New South Wales 24 August - 13 October 2019.
Publishing details: Art Gallery of New South Wales, 2019,
55 pages : colour illustrations, portraits

Kelly Deborahview full entry

Reference: see Here we are / curator Lisa Catt. Published in association with the exhibition Here we are AGNSW Contemporary collection project / 4, held at the Art Gallery of New South Wales 24 August - 13 October 2019.
Publishing details: Art Gallery of New South Wales, 2019,
55 pages : colour illustrations, portraits

Kimsoojaview full entry

Reference: see Here we are / curator Lisa Catt. Published in association with the exhibition Here we are AGNSW Contemporary collection project / 4, held at the Art Gallery of New South Wales 24 August - 13 October 2019.
Publishing details: Art Gallery of New South Wales, 2019,
55 pages : colour illustrations, portraits

Larsen Mernetview full entry

Reference: see Here we are / curator Lisa Catt. Published in association with the exhibition Here we are AGNSW Contemporary collection project / 4, held at the Art Gallery of New South Wales 24 August - 13 October 2019.
Publishing details: Art Gallery of New South Wales, 2019,
55 pages : colour illustrations, portraits

Lawson Deanaview full entry

Reference: see Here we are / curator Lisa Catt. Published in association with the exhibition Here we are AGNSW Contemporary collection project / 4, held at the Art Gallery of New South Wales 24 August - 13 October 2019.
Publishing details: Art Gallery of New South Wales, 2019,
55 pages : colour illustrations, portraits

Loy Rosaview full entry

Reference: see Here we are / curator Lisa Catt. Published in association with the exhibition Here we are AGNSW Contemporary collection project / 4, held at the Art Gallery of New South Wales 24 August - 13 October 2019.
Publishing details: Art Gallery of New South Wales, 2019,
55 pages : colour illustrations, portraits

Moffatt Traceyview full entry

Reference: see Here we are / curator Lisa Catt. Published in association with the exhibition Here we are AGNSW Contemporary collection project / 4, held at the Art Gallery of New South Wales 24 August - 13 October 2019.
Publishing details: Art Gallery of New South Wales, 2019,
55 pages : colour illustrations, portraits

Mutu Wangechiview full entry

Reference: see Here we are / curator Lisa Catt. Published in association with the exhibition Here we are AGNSW Contemporary collection project / 4, held at the Art Gallery of New South Wales 24 August - 13 October 2019.
Publishing details: Art Gallery of New South Wales, 2019,
55 pages : colour illustrations, portraits

Saville Jennyview full entry

Reference: see Here we are / curator Lisa Catt. Published in association with the exhibition Here we are AGNSW Contemporary collection project / 4, held at the Art Gallery of New South Wales 24 August - 13 October 2019.
Publishing details: Art Gallery of New South Wales, 2019,
55 pages : colour illustrations, portraits

Schutz Danaview full entry

Reference: see Here we are / curator Lisa Catt. Published in association with the exhibition Here we are AGNSW Contemporary collection project / 4, held at the Art Gallery of New South Wales 24 August - 13 October 2019.
Publishing details: Art Gallery of New South Wales, 2019,
55 pages : colour illustrations, portraits

Shannon Marieview full entry

Reference: see Here we are / curator Lisa Catt. Published in association with the exhibition Here we are AGNSW Contemporary collection project / 4, held at the Art Gallery of New South Wales 24 August - 13 October 2019.
Publishing details: Art Gallery of New South Wales, 2019,
55 pages : colour illustrations, portraits

Smith Kikiview full entry

Reference: see Here we are / curator Lisa Catt. Published in association with the exhibition Here we are AGNSW Contemporary collection project / 4, held at the Art Gallery of New South Wales 24 August - 13 October 2019.
Publishing details: Art Gallery of New South Wales, 2019,
55 pages : colour illustrations, portraits

Williams Justeneview full entry

Reference: see Here we are / curator Lisa Catt. Published in association with the exhibition Here we are AGNSW Contemporary collection project / 4, held at the Art Gallery of New South Wales 24 August - 13 October 2019.
Publishing details: Art Gallery of New South Wales, 2019,
55 pages : colour illustrations, portraits

Wright Judithview full entry

Reference: see Here we are / curator Lisa Catt. Published in association with the exhibition Here we are AGNSW Contemporary collection project / 4, held at the Art Gallery of New South Wales 24 August - 13 October 2019.
Publishing details: Art Gallery of New South Wales, 2019,
55 pages : colour illustrations, portraits

Yanagi Miwaview full entry

Reference: see Here we are / curator Lisa Catt. Published in association with the exhibition Here we are AGNSW Contemporary collection project / 4, held at the Art Gallery of New South Wales 24 August - 13 October 2019.
Publishing details: Art Gallery of New South Wales, 2019,
55 pages : colour illustrations, portraits

Yiadom-Boakye Lynetteview full entry

Reference: see Here we are / curator Lisa Catt. Published in association with the exhibition Here we are AGNSW Contemporary collection project / 4, held at the Art Gallery of New South Wales 24 August - 13 October 2019.
Publishing details: Art Gallery of New South Wales, 2019,
55 pages : colour illustrations, portraits

Unpaintingview full entry

Reference: Unpainting / contributors Lisa Catt, Nicholas Chambers ; text editor: Faith Chisholm ; design: Matt Nix (original design Analiese Cairis) ; photography: Jenni Carter, Felicity Jenkins, Diana Panuccio, Christopher Snee.

AGNSW Contemporary Collection Projects ; 3.
Notes Published in association with the exhibition Unpainting: Contemporary Collection Projects / 3, held at the Art Gallery of New South Wales 16 September 2017 - 12 August 2017.
Publishing details: Art Gallery of New South Wales, 2017,
47 pages : colour illustrations, portraits
Ref: 1000

Bradford Markview full entry

Reference: see Unpainting / contributors Lisa Catt, Nicholas Chambers ; text editor: Faith Chisholm ; design: Matt Nix (original design Analiese Cairis) ; photography: Jenni Carter, Felicity Jenkins, Diana Panuccio, Christopher Snee.

AGNSW Contemporary Collection Projects ; 3.
Notes Published in association with the exhibition Unpainting: Contemporary Collection Projects / 3, held at the Art Gallery of New South Wales 16 September 2017 - 12 August 2017.
Publishing details: Art Gallery of New South Wales, 2017,
47 pages : colour illustrations, portraits

Buren Danielview full entry

Reference: see Unpainting / contributors Lisa Catt, Nicholas Chambers ; text editor: Faith Chisholm ; design: Matt Nix (original design Analiese Cairis) ; photography: Jenni Carter, Felicity Jenkins, Diana Panuccio, Christopher Snee.

AGNSW Contemporary Collection Projects ; 3.
Notes Published in association with the exhibition Unpainting: Contemporary Collection Projects / 3, held at the Art Gallery of New South Wales 16 September 2017 - 12 August 2017.
Publishing details: Art Gallery of New South Wales, 2017,
47 pages : colour illustrations, portraits

Burn Ianview full entry

Reference: see Unpainting / contributors Lisa Catt, Nicholas Chambers ; text editor: Faith Chisholm ; design: Matt Nix (original design Analiese Cairis) ; photography: Jenni Carter, Felicity Jenkins, Diana Panuccio, Christopher Snee.

AGNSW Contemporary Collection Projects ; 3.
Notes Published in association with the exhibition Unpainting: Contemporary Collection Projects / 3, held at the Art Gallery of New South Wales 16 September 2017 - 12 August 2017.
Publishing details: Art Gallery of New South Wales, 2017,
47 pages : colour illustrations, portraits

Dash Nview full entry

Reference: see Unpainting / contributors Lisa Catt, Nicholas Chambers ; text editor: Faith Chisholm ; design: Matt Nix (original design Analiese Cairis) ; photography: Jenni Carter, Felicity Jenkins, Diana Panuccio, Christopher Snee.

AGNSW Contemporary Collection Projects ; 3.
Notes Published in association with the exhibition Unpainting: Contemporary Collection Projects / 3, held at the Art Gallery of New South Wales 16 September 2017 - 12 August 2017.
Publishing details: Art Gallery of New South Wales, 2017,
47 pages : colour illustrations, portraits

de la Cruz Angelaview full entry

Reference: see Unpainting / contributors Lisa Catt, Nicholas Chambers ; text editor: Faith Chisholm ; design: Matt Nix (original design Analiese Cairis) ; photography: Jenni Carter, Felicity Jenkins, Diana Panuccio, Christopher Snee.

AGNSW Contemporary Collection Projects ; 3.
Notes Published in association with the exhibition Unpainting: Contemporary Collection Projects / 3, held at the Art Gallery of New South Wales 16 September 2017 - 12 August 2017.
Publishing details: Art Gallery of New South Wales, 2017,
47 pages : colour illustrations, portraits

Dwyer Mikalaview full entry

Reference: see Unpainting / contributors Lisa Catt, Nicholas Chambers ; text editor: Faith Chisholm ; design: Matt Nix (original design Analiese Cairis) ; photography: Jenni Carter, Felicity Jenkins, Diana Panuccio, Christopher Snee.

AGNSW Contemporary Collection Projects ; 3.
Notes Published in association with the exhibition Unpainting: Contemporary Collection Projects / 3, held at the Art Gallery of New South Wales 16 September 2017 - 12 August 2017.
Publishing details: Art Gallery of New South Wales, 2017,
47 pages : colour illustrations, portraits

Frank Daleview full entry

Reference: see Unpainting / contributors Lisa Catt, Nicholas Chambers ; text editor: Faith Chisholm ; design: Matt Nix (original design Analiese Cairis) ; photography: Jenni Carter, Felicity Jenkins, Diana Panuccio, Christopher Snee.

AGNSW Contemporary Collection Projects ; 3.
Notes Published in association with the exhibition Unpainting: Contemporary Collection Projects / 3, held at the Art Gallery of New South Wales 16 September 2017 - 12 August 2017.
Publishing details: Art Gallery of New South Wales, 2017,
47 pages : colour illustrations, portraits

Grosse Katharinaview full entry

Reference: see Unpainting / contributors Lisa Catt, Nicholas Chambers ; text editor: Faith Chisholm ; design: Matt Nix (original design Analiese Cairis) ; photography: Jenni Carter, Felicity Jenkins, Diana Panuccio, Christopher Snee.

AGNSW Contemporary Collection Projects ; 3.
Notes Published in association with the exhibition Unpainting: Contemporary Collection Projects / 3, held at the Art Gallery of New South Wales 16 September 2017 - 12 August 2017.
Publishing details: Art Gallery of New South Wales, 2017,
47 pages : colour illustrations, portraits

Guyton Wadeview full entry

Reference: see Unpainting / contributors Lisa Catt, Nicholas Chambers ; text editor: Faith Chisholm ; design: Matt Nix (original design Analiese Cairis) ; photography: Jenni Carter, Felicity Jenkins, Diana Panuccio, Christopher Snee.

AGNSW Contemporary Collection Projects ; 3.
Notes Published in association with the exhibition Unpainting: Contemporary Collection Projects / 3, held at the Art Gallery of New South Wales 16 September 2017 - 12 August 2017.
Publishing details: Art Gallery of New South Wales, 2017,
47 pages : colour illustrations, portraits

Irvin Albertview full entry

Reference: see Unpainting / contributors Lisa Catt, Nicholas Chambers ; text editor: Faith Chisholm ; design: Matt Nix (original design Analiese Cairis) ; photography: Jenni Carter, Felicity Jenkins, Diana Panuccio, Christopher Snee.

AGNSW Contemporary Collection Projects ; 3.
Notes Published in association with the exhibition Unpainting: Contemporary Collection Projects / 3, held at the Art Gallery of New South Wales 16 September 2017 - 12 August 2017.
Publishing details: Art Gallery of New South Wales, 2017,
47 pages : colour illustrations, portraits

Law Bobview full entry

Reference: see Unpainting / contributors Lisa Catt, Nicholas Chambers ; text editor: Faith Chisholm ; design: Matt Nix (original design Analiese Cairis) ; photography: Jenni Carter, Felicity Jenkins, Diana Panuccio, Christopher Snee.

AGNSW Contemporary Collection Projects ; 3.
Notes Published in association with the exhibition Unpainting: Contemporary Collection Projects / 3, held at the Art Gallery of New South Wales 16 September 2017 - 12 August 2017.
Publishing details: Art Gallery of New South Wales, 2017,
47 pages : colour illustrations, portraits

Millar Judyview full entry

Reference: see Unpainting / contributors Lisa Catt, Nicholas Chambers ; text editor: Faith Chisholm ; design: Matt Nix (original design Analiese Cairis) ; photography: Jenni Carter, Felicity Jenkins, Diana Panuccio, Christopher Snee.

AGNSW Contemporary Collection Projects ; 3.
Notes Published in association with the exhibition Unpainting: Contemporary Collection Projects / 3, held at the Art Gallery of New South Wales 16 September 2017 - 12 August 2017.
Publishing details: Art Gallery of New South Wales, 2017,
47 pages : colour illustrations, portraits

Nelson Donaview full entry

Reference: see Unpainting / contributors Lisa Catt, Nicholas Chambers ; text editor: Faith Chisholm ; design: Matt Nix (original design Analiese Cairis) ; photography: Jenni Carter, Felicity Jenkins, Diana Panuccio, Christopher Snee.

AGNSW Contemporary Collection Projects ; 3.
Notes Published in association with the exhibition Unpainting: Contemporary Collection Projects / 3, held at the Art Gallery of New South Wales 16 September 2017 - 12 August 2017.
Publishing details: Art Gallery of New South Wales, 2017,
47 pages : colour illustrations, portraits

Polke Sigmarview full entry

Reference: see Unpainting / contributors Lisa Catt, Nicholas Chambers ; text editor: Faith Chisholm ; design: Matt Nix (original design Analiese Cairis) ; photography: Jenni Carter, Felicity Jenkins, Diana Panuccio, Christopher Snee.

AGNSW Contemporary Collection Projects ; 3.
Notes Published in association with the exhibition Unpainting: Contemporary Collection Projects / 3, held at the Art Gallery of New South Wales 16 September 2017 - 12 August 2017.
Publishing details: Art Gallery of New South Wales, 2017,
47 pages : colour illustrations, portraits

Ramsden Melview full entry

Reference: see Unpainting / contributors Lisa Catt, Nicholas Chambers ; text editor: Faith Chisholm ; design: Matt Nix (original design Analiese Cairis) ; photography: Jenni Carter, Felicity Jenkins, Diana Panuccio, Christopher Snee.

AGNSW Contemporary Collection Projects ; 3.
Notes Published in association with the exhibition Unpainting: Contemporary Collection Projects / 3, held at the Art Gallery of New South Wales 16 September 2017 - 12 August 2017.
Publishing details: Art Gallery of New South Wales, 2017,
47 pages : colour illustrations, portraits

Rondinone Ugoview full entry

Reference: see Unpainting / contributors Lisa Catt, Nicholas Chambers ; text editor: Faith Chisholm ; design: Matt Nix (original design Analiese Cairis) ; photography: Jenni Carter, Felicity Jenkins, Diana Panuccio, Christopher Snee.

AGNSW Contemporary Collection Projects ; 3.
Notes Published in association with the exhibition Unpainting: Contemporary Collection Projects / 3, held at the Art Gallery of New South Wales 16 September 2017 - 12 August 2017.
Publishing details: Art Gallery of New South Wales, 2017,
47 pages : colour illustrations, portraits

Smith Joshview full entry

Reference: see Unpainting / contributors Lisa Catt, Nicholas Chambers ; text editor: Faith Chisholm ; design: Matt Nix (original design Analiese Cairis) ; photography: Jenni Carter, Felicity Jenkins, Diana Panuccio, Christopher Snee.

AGNSW Contemporary Collection Projects ; 3.
Notes Published in association with the exhibition Unpainting: Contemporary Collection Projects / 3, held at the Art Gallery of New South Wales 16 September 2017 - 12 August 2017.
Publishing details: Art Gallery of New South Wales, 2017,
47 pages : colour illustrations, portraits

Stockholder Jessicaview full entry

Reference: see Unpainting / contributors Lisa Catt, Nicholas Chambers ; text editor: Faith Chisholm ; design: Matt Nix (original design Analiese Cairis) ; photography: Jenni Carter, Felicity Jenkins, Diana Panuccio, Christopher Snee.

AGNSW Contemporary Collection Projects ; 3.
Notes Published in association with the exhibition Unpainting: Contemporary Collection Projects / 3, held at the Art Gallery of New South Wales 16 September 2017 - 12 August 2017.
Publishing details: Art Gallery of New South Wales, 2017,
47 pages : colour illustrations, portraits

Streuli Christineview full entry

Reference: see Unpainting / contributors Lisa Catt, Nicholas Chambers ; text editor: Faith Chisholm ; design: Matt Nix (original design Analiese Cairis) ; photography: Jenni Carter, Felicity Jenkins, Diana Panuccio, Christopher Snee.

AGNSW Contemporary Collection Projects ; 3.
Notes Published in association with the exhibition Unpainting: Contemporary Collection Projects / 3, held at the Art Gallery of New South Wales 16 September 2017 - 12 August 2017.
Publishing details: Art Gallery of New South Wales, 2017,
47 pages : colour illustrations, portraits

Turnbull Williamview full entry

Reference: see Unpainting / contributors Lisa Catt, Nicholas Chambers ; text editor: Faith Chisholm ; design: Matt Nix (original design Analiese Cairis) ; photography: Jenni Carter, Felicity Jenkins, Diana Panuccio, Christopher Snee.

AGNSW Contemporary Collection Projects ; 3.
Notes Published in association with the exhibition Unpainting: Contemporary Collection Projects / 3, held at the Art Gallery of New South Wales 16 September 2017 - 12 August 2017.
Publishing details: Art Gallery of New South Wales, 2017,
47 pages : colour illustrations, portraits

Elischer Johann Wolfgang 1891-1966view full entry

Reference: see Hargesheimer Kunstauktionen Düsseldorf, Düsseldorf, DE, 13.3.2021, lot 1085, JOHAN WOLFGANG (JOHN W.) ELISCHER 1891 Vienna - 1966 Australia Figural lamp 'Young woman with flamingos' Bronze, green patinated, black marble. H. 76 cm. Inscribed 'Elischer' on the plinth. A corresponding plinth with a fully plastic representation of a running woman over a round base. She holds up a ball and is flanked by two flamingos. Min. Ber., Electrified (unchecked), lampshade probably later.

Visionaries in suburbia view full entry

Reference: Visionaries in suburbia : Griffin houses in the Sydney landscape / edited by Anne Watson. Includes bibliographical references (pages 209-210) and index. [’From Castlecrag to Clifton Gardens, Pymble to Avalon, Visionaries in Suburbia presents for the first time the entire range of Walter Burley Griffin and Marion Mahony Griffin’s Sydney residential designs in the 1920s and 30s. Richly illustrated and with essays by heritage specialists and Griffin home owners, the book reveals new research on some of the lesser-known houses, such as the Pratten and van der Ley residences and a range of unbuilt projects, as well as fresh perspectives on the Castlecrag estate and its unique planning and community concepts.
Not just an architectural survey, Visionaries also explores the Griffins’ holistic vision – the environmental, social and spiritual ideals underpinning their integrated design and landscape philosophy. The book concludes with a chapter on the Griffins’ legacy, the heritage significance of their houses and the relevance of their ideologies today.
Visionaries in Suburbia is illustrated with 270 colour and black and white images – many full-page – including photographs by Max Dupain, Mati Maldre and Eric Sierins, as well as Griffin office drawings and photographs from the Eric Nicholls collection in the National Library and Marion’s incomparable presentation renderings. Contributing an exciting new dimension to our understanding of the Griffins’ milieu are more than 40 previously unpublished photographs of life in Castlecrag from the recently discovered archive of Hermann Junge, a representative for Leica Cameras and a Castlecrag resident in the late 1920s and early 30s.
Coordinating Editors: Dr Anne Watson and Adrienne Kabos.’]
Publishing details: Castlecrag, NSW, Australia : Walter Burley Griffin Society Incorporated, 2015
vi, 215 pages : illustrations.

architectureview full entry

Reference: see Visionaries in suburbia : Griffin houses in the Sydney landscape / edited by Anne Watson. Includes bibliographical references (pages 209-210) and index. [’From Castlecrag to Clifton Gardens, Pymble to Avalon, Visionaries in Suburbia presents for the first time the entire range of Walter Burley Griffin and Marion Mahony Griffin’s Sydney residential designs in the 1920s and 30s. Richly illustrated and with essays by heritage specialists and Griffin home owners, the book reveals new research on some of the lesser-known houses, such as the Pratten and van der Ley residences and a range of unbuilt projects, as well as fresh perspectives on the Castlecrag estate and its unique planning and community concepts.
Not just an architectural survey, Visionaries also explores the Griffins’ holistic vision – the environmental, social and spiritual ideals underpinning their integrated design and landscape philosophy. The book concludes with a chapter on the Griffins’ legacy, the heritage significance of their houses and the relevance of their ideologies today.
Visionaries in Suburbia is illustrated with 270 colour and black and white images – many full-page – including photographs by Max Dupain, Mati Maldre and Eric Sierins, as well as Griffin office drawings and photographs from the Eric Nicholls collection in the National Library and Marion’s incomparable presentation renderings. Contributing an exciting new dimension to our understanding of the Griffins’ milieu are more than 40 previously unpublished photographs of life in Castlecrag from the recently discovered archive of Hermann Junge, a representative for Leica Cameras and a Castlecrag resident in the late 1920s and early 30s.
Coordinating Editors: Dr Anne Watson and Adrienne Kabos.’]
Publishing details: Castlecrag, NSW, Australia : Walter Burley Griffin Society Incorporated, 2015
vi, 215 pages : illustrations.

Griffin Walter Burley view full entry

Reference: see Visionaries in suburbia : Griffin houses in the Sydney landscape / edited by Anne Watson. Includes bibliographical references (pages 209-210) and index. [’From Castlecrag to Clifton Gardens, Pymble to Avalon, Visionaries in Suburbia presents for the first time the entire range of Walter Burley Griffin and Marion Mahony Griffin’s Sydney residential designs in the 1920s and 30s. Richly illustrated and with essays by heritage specialists and Griffin home owners, the book reveals new research on some of the lesser-known houses, such as the Pratten and van der Ley residences and a range of unbuilt projects, as well as fresh perspectives on the Castlecrag estate and its unique planning and community concepts.
Not just an architectural survey, Visionaries also explores the Griffins’ holistic vision – the environmental, social and spiritual ideals underpinning their integrated design and landscape philosophy. The book concludes with a chapter on the Griffins’ legacy, the heritage significance of their houses and the relevance of their ideologies today.
Visionaries in Suburbia is illustrated with 270 colour and black and white images – many full-page – including photographs by Max Dupain, Mati Maldre and Eric Sierins, as well as Griffin office drawings and photographs from the Eric Nicholls collection in the National Library and Marion’s incomparable presentation renderings. Contributing an exciting new dimension to our understanding of the Griffins’ milieu are more than 40 previously unpublished photographs of life in Castlecrag from the recently discovered archive of Hermann Junge, a representative for Leica Cameras and a Castlecrag resident in the late 1920s and early 30s.
Coordinating Editors: Dr Anne Watson and Adrienne Kabos.’]
Publishing details: Castlecrag, NSW, Australia : Walter Burley Griffin Society Incorporated, 2015
vi, 215 pages : illustrations.

Griffin Marion Mahony view full entry

Reference: see Visionaries in suburbia : Griffin houses in the Sydney landscape / edited by Anne Watson. Includes bibliographical references (pages 209-210) and index. [’From Castlecrag to Clifton Gardens, Pymble to Avalon, Visionaries in Suburbia presents for the first time the entire range of Walter Burley Griffin and Marion Mahony Griffin’s Sydney residential designs in the 1920s and 30s. Richly illustrated and with essays by heritage specialists and Griffin home owners, the book reveals new research on some of the lesser-known houses, such as the Pratten and van der Ley residences and a range of unbuilt projects, as well as fresh perspectives on the Castlecrag estate and its unique planning and community concepts.
Not just an architectural survey, Visionaries also explores the Griffins’ holistic vision – the environmental, social and spiritual ideals underpinning their integrated design and landscape philosophy. The book concludes with a chapter on the Griffins’ legacy, the heritage significance of their houses and the relevance of their ideologies today.
Visionaries in Suburbia is illustrated with 270 colour and black and white images – many full-page – including photographs by Max Dupain, Mati Maldre and Eric Sierins, as well as Griffin office drawings and photographs from the Eric Nicholls collection in the National Library and Marion’s incomparable presentation renderings. Contributing an exciting new dimension to our understanding of the Griffins’ milieu are more than 40 previously unpublished photographs of life in Castlecrag from the recently discovered archive of Hermann Junge, a representative for Leica Cameras and a Castlecrag resident in the late 1920s and early 30s.
Coordinating Editors: Dr Anne Watson and Adrienne Kabos.’]
Publishing details: Castlecrag, NSW, Australia : Walter Burley Griffin Society Incorporated, 2015
vi, 215 pages : illustrations.

Griffin Marion Mahony view full entry

Reference: see Visionaries in suburbia : Griffin houses in the Sydney landscape / edited by Anne Watson. Includes bibliographical references (pages 209-210) and index. [’From Castlecrag to Clifton Gardens, Pymble to Avalon, Visionaries in Suburbia presents for the first time the entire range of Walter Burley Griffin and Marion Mahony Griffin’s Sydney residential designs in the 1920s and 30s. Richly illustrated and with essays by heritage specialists and Griffin home owners, the book reveals new research on some of the lesser-known houses, such as the Pratten and van der Ley residences and a range of unbuilt projects, as well as fresh perspectives on the Castlecrag estate and its unique planning and community concepts.
Not just an architectural survey, Visionaries also explores the Griffins’ holistic vision – the environmental, social and spiritual ideals underpinning their integrated design and landscape philosophy. The book concludes with a chapter on the Griffins’ legacy, the heritage significance of their houses and the relevance of their ideologies today.
Visionaries in Suburbia is illustrated with 270 colour and black and white images – many full-page – including photographs by Max Dupain, Mati Maldre and Eric Sierins, as well as Griffin office drawings and photographs from the Eric Nicholls collection in the National Library and Marion’s incomparable presentation renderings. Contributing an exciting new dimension to our understanding of the Griffins’ milieu are more than 40 previously unpublished photographs of life in Castlecrag from the recently discovered archive of Hermann Junge, a representative for Leica Cameras and a Castlecrag resident in the late 1920s and early 30s.
Coordinating Editors: Dr Anne Watson and Adrienne Kabos.’]
Publishing details: Castlecrag, NSW, Australia : Walter Burley Griffin Society Incorporated, 2015
vi, 215 pages : illustrations.

Caswell Charles view full entry

Reference: see Canberra design competition - Coulter, Caswell & Griffiths: Watercolour perspective of the lake and some of the city's buildings at sunset.
Charles Caswell was an engineer who brought expertise in sewerage construction to the design team of Griffiths, Coulter and Caswell.
Robert Charles Gibbon Coulter was responsible for the co-ordination of the architectural and artistic features of the team's plan, and painted the perspectives which accompanied the entry.
Walter Scott Griffiths was a survey draftsman, whose contribution to the team effort was that of town planner. After the capital competition he pursued a career in town planning, and planned a number of new towns.

Publishing details: http://artserve.anu.edu.au/raid1/student_projects/idealcity/section3.html

Coulter Robert Charles Gibbon view full entry

Reference: see Canberra design competition - Coulter, Caswell & Griffiths: Watercolour perspective of the lake and some of the city's buildings at sunset.
Charles Caswell was an engineer who brought expertise in sewerage construction to the design team of Griffiths, Coulter and Caswell.
Robert Charles Gibbon Coulter was responsible for the co-ordination of the architectural and artistic features of the team's plan, and painted the perspectives which accompanied the entry.
Walter Scott Griffiths was a survey draftsman, whose contribution to the team effort was that of town planner. After the capital competition he pursued a career in town planning, and planned a number of new towns.

Publishing details: http://artserve.anu.edu.au/raid1/student_projects/idealcity/section3.html

Griffiths Walter Scott view full entry

Reference: see Canberra design competition - Coulter, Caswell & Griffiths: Watercolour perspective of the lake and some of the city's buildings at sunset.
Charles Caswell was an engineer who brought expertise in sewerage construction to the design team of Griffiths, Coulter and Caswell.
Robert Charles Gibbon Coulter was responsible for the co-ordination of the architectural and artistic features of the team's plan, and painted the perspectives which accompanied the entry.
Walter Scott Griffiths was a survey draftsman, whose contribution to the team effort was that of town planner. After the capital competition he pursued a career in town planning, and planned a number of new towns.

Publishing details: http://artserve.anu.edu.au/raid1/student_projects/idealcity/section3.html

Griffin Marion Mahony view full entry

Reference: see Marion Mahony Griffin, ‘Magic of America (online).
Website: "The Magic of America," a typescript of over 1,400 pages with approximately 650 accompanying illustrations, was written and compiled by Marion Mahony Griffin (1871-1961), architect, designer, delineator, and artist. In 1911 she married Walter Burley Griffin (1876-1937), architect, landscape designer, and city planner. Their architectural practice spanned almost four decades on three continents, and "The Magic of America" was meant, in part, to be a testament to their life and work together. "The Magic of America: Electronic Edition" collates in a digital format all the texts and illustrations from the three known copies of the work. The electronic edition thus represents the most complete and accessible version currently available of this important architectural document. Comments are welcome.
Website: Organization "The Magic of America: Electronic Edition" website comprises five major components:
1 Introduction – information about: (a) the website's structure and function, (b) the archival texts and illustrations, (c) editorial procedures for the Digital Text, (d) editorial procedures for the Image Database, and (e) project acknowledgements and contact addresses.
2 Manuscript Facsimile – scanned page images of text and illustrations in four Sections;
3 Digital Text – a digital transcription of the text with "thumbnails" of the illustrations in four Sections;
4 Image Database – a searchable database of the illustrations;
5 Supplementa – related, secondary textual and visual materials; also downloadable text-only files—without illustrations—of the TEI/XML and HTML versions of "The Magic of America."
Website: Navigation All pages On every webpage, beneath the project title, is a horizontal menu bar with links to: Home, Introduction, Manuscript Facsimile, Digital Text, Image Database, and Supplementa.  
Home This page serves as the main point of entry for the website. 
Introduction A frame at the left side of the screen provides a hyperlinked "table of contents" to the introductory material for "The Magic of America: Electronic Edition." The frame at the right displays the text of the Introduction. 
Manuscript Facsimile A frame at the left side of the screen provides hyperlink access—through a table of contents—to any division of the document. Three types of icon can be used for navigation:
Publishing details: https://archive.artic.edu/magicofamerica/

Griffin Walter Burley view full entry

Reference: see Marion Mahony Griffin, ‘Magic of America (online).
Website: "The Magic of America," a typescript of over 1,400 pages with approximately 650 accompanying illustrations, was written and compiled by Marion Mahony Griffin (1871-1961), architect, designer, delineator, and artist. In 1911 she married Walter Burley Griffin (1876-1937), architect, landscape designer, and city planner. Their architectural practice spanned almost four decades on three continents, and "The Magic of America" was meant, in part, to be a testament to their life and work together. "The Magic of America: Electronic Edition" collates in a digital format all the texts and illustrations from the three known copies of the work. The electronic edition thus represents the most complete and accessible version currently available of this important architectural document. Comments are welcome.
Website: Organization "The Magic of America: Electronic Edition" website comprises five major components:
1 Introduction – information about: (a) the website's structure and function, (b) the archival texts and illustrations, (c) editorial procedures for the Digital Text, (d) editorial procedures for the Image Database, and (e) project acknowledgements and contact addresses.
2 Manuscript Facsimile – scanned page images of text and illustrations in four Sections;
3 Digital Text – a digital transcription of the text with "thumbnails" of the illustrations in four Sections;
4 Image Database – a searchable database of the illustrations;
5 Supplementa – related, secondary textual and visual materials; also downloadable text-only files—without illustrations—of the TEI/XML and HTML versions of "The Magic of America."
Website: Navigation All pages On every webpage, beneath the project title, is a horizontal menu bar with links to: Home, Introduction, Manuscript Facsimile, Digital Text, Image Database, and Supplementa.  
Home This page serves as the main point of entry for the website. 
Introduction A frame at the left side of the screen provides a hyperlinked "table of contents" to the introductory material for "The Magic of America: Electronic Edition." The frame at the right displays the text of the Introduction. 
Manuscript Facsimile A frame at the left side of the screen provides hyperlink access—through a table of contents—to any division of the document. Three types of icon can be used for navigation:
Publishing details: https://archive.artic.edu/magicofamerica/

Paterson Elizabeth - artist, Sidney Nolan’s first wife see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Dearing Henry - Professor H A Tipping p145, 147-8, 150-55, 164view full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Tipping Professor H A - Henry Dearing - p145, 147-8, 150-55, 164view full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Beck Hatton p82view full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Yule John see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Andrews Gordon see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Angry Penguinsview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Atyeo Sam see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Bayliss Clifford see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Bergner Yosl see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Blackman Charles see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Boyd Arthur see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Boyd family see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Cantwell Bill - Ida Wilks p202, 213view full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Wilks Ida - see Bill Cantwell p202, 213view full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Collings Dahl & Geoffrey see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Counihan Noel see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Dargie William see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Daws Lawrence see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Dobell William see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Drysdale Russell see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Dyring Moya see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Evatt Mary Alice see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Fairweather Ian see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Gleeson James see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Heide see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Hester Joy see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Hinder Frank see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Lawlor Adrian see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Namatjira Albert see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Olsen John see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Perceval John see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Plate Carl see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Poignant Alex see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Prestom Margaret see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Proctor Thea p 70 87 see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Redfern Gallery London see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Roberts Tom see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Roggenkamp Joy see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Sainthill Loudon see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Smith Bernard see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Smith Gray see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Tucker Albert see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Vassilieff Danila see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Whiteley Brett see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Zander Alleyne (Clarice) see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.

Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.

Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

Knight Kenview full entry

Reference: Advertising feature, Sydney Morning Herald, 19 February, 2021, p 22 - ‘Fine Art Inspiration and Motivation - An Insight into Nature with a capital ‘N’’
Publishing details: SMH, 19.2.2021
Ref: 139

Gould Elizabethview full entry

Reference: see ‘Elizabeth Gould - Some new letters. by A. H. Chisholm, Royal Australian Historical Society, vol 49, pt 5, Jan., 1964, p321-336
Publishing details: RAHS, 1964, vol 49, pt 5.

Gould Johnview full entry

Reference: see ‘Gould, the Bird Man - Great Naturalist’s Drawings’, Argus, 30 June, 1934, p9

Gould Johnview full entry

Reference: The Ornithological Works of John Gould, F.R.S., 1832-1888, by H. C. Richter, W. Hart, etc
Publishing details: Henry Sotheran, 1933, 74pp
Ref: 1000

Gould Johnview full entry

Reference: Gould's birds of Australia by John Gould, 1804-18

Publishing details: Sydney : Simmons-Bloxham Printing, 1910
Ref: 1000

Gould Johnview full entry

Reference: Birds of Australia / by John Gould. Handbook by John Gould, , 1804-1881

Publishing details: Melbourne : Lansdowne, 1972, facsimile.
Ref: 1000

Gould Johnview full entry

Reference: An introduction to The birds of Australia / by John Gould
Publishing details: London : J. Gould, 1848, viii, 134, 6 pages : 3 illustrations
Ref: 1000

Gould Johnview full entry

Reference: Handbook to The birds of Australia / by John Gould. Includes index.
Green cloth binding with decorative gilt spines and lyrebird on the front covers.
National Library of Australia's NK1519 copy has a signed manuscript letter from 26 Charlotte Street, Bedford Square WC dated Dec 30, 1873 from the author to W. Buller, Esq. [possibly New Zealand lawyer and naturalist, Sir Walter Lawry Buller (1838–1906)] tipped in the front of volume 1, "My dear Sir, I do not know if I have the bird you wish to see ..."; bears the bookplate of Rex de C. Nan Kivell (no. 1865/3).
National Library of Australia's both SR copies inscribed to, “R. Adams esq. With the author’s compliments, April 6-1874” without a signature.
National Library of GMM 598.2994 GOU copy has a signed manuscript letter from 20 Broad Str, Golden Sq dated May 9 '42 on mourning paper from the author, to naturalist Sir Richard Owen (1804-1892) tipped in the front of volume 1, "Mr dear Owen, I send to you herewith the second part of a "Monograph of the Macropodidae" which you will oblige me by accepting ...", also the visiting card of "Mr Gould" inscribed in ink, "for Mr Meynell" [presumably ornithologist Mark Meynell]; bears the ex-libris bookplate of Gregory M. Mathews.
National Library of Australia's FER F10031 (FC) set carries 'G.G. Walmsley' bookseller (Liverpool) labels pasted inside the front covers of each volume (both different).
Publishing details: London : J. Gould, 1865, 2 volumes (636, 629 pages)
Ref: 1000

Gould Elizabethview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. ‘Much more than an E’, article on Elizabeth Gould by David Hansen, p6-9
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Gould Johnview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. ‘Much more than an E’, article on Elizabeth Gould by David Hansen, p6-9
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Gould Johnview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. ‘The Goulds in Australia’, article by John Wade, p 10-12.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Gould Elizabethview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. ‘The Goulds in Australia’, article by John Wade, p 10-12.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Williams Henryview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. ‘The Goulds in Australia’, article by John Wade, p 10-12. Article includes reference to the portrait of John Gould by Henry Williams, c1838-40 and biographical information on Williams provided by David Hansen who was Senior Curator at TMAG when the portait was purchased by the gallery.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Williams Henryview full entry

Reference: see DAAO: Colonial male oil painter, watercolourist and photographer from Hobart Town who painted children and hunters.
portrait painter and professional photographer, apparently worked as a painter in Hobart Town from the late 1830s. Several undated watercolours are known, including a copy of a Sir Joshua Reynolds’ portrait of a child (private collection), two separate portraits of the Waterhouse children (Joseph Brown), and a portrait of a shooter posed with a pile of Australian birds – reputedly John Gould (Tasmanian Museum and Art Gallery). John Jones has suggested that certain portraits attributed to Thomas Bock may be by Williams, whose style was extremely similar. Later he seems to have worked as a photographer – Davies and Stanbury list one Henry Williams at Hobart in 1859 – then again as a painter. An oil painting, The Butcher’s Shop, Wagga Wagga (1864? Deutscher Fine Art), the colonial workplace of the notorious Tichborne Claimant Arthur Orton (London, 1871-74), is signed 'H. Williams/ '64’. This entry is a stub.
Flourished fl. c.1835 - c.1864

Nevin Thomas James snr (1842-1923)view full entry

Reference: Professional photographer Thomas James Nevin snr (1842-1923) produced large numbers of stereographs and cartes-de-visite within his commercial practice, and prisoner identification photographs on government contract. His career spanned nearly three decades, from the early 1860s to the late 1880s. He was one of the first photographers to work with the police in Australia, along with Charles Nettleton (Victoria) and Frazer Crawford (South Australia). His Tasmanian prisoner mugshots are among the earliest to survive in public collections, viz. the Queen Victoria Museum and Art Gallery, Launceston; the Tasmanian Museum and Art Gallery, Hobart; the Tasmanian Heritage and Archives Office, Hobart; the Port Arthur Historic Site, Tasman Peninsula; the National Library of Australia, Canberra; and the Mitchell Library, State Library of NSW, Sydney. Thomas J. Nevin's stereographs and portraits are held in public and private collections in Australia, New Zealand, the USA, the United Kingdom, the Netherlands, Denmark, France and Switzerland.
Publishing details: https://thomasnevin.com/tag/williams/

Young William 1875-1944 aka Sidney Goodwinview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. ‘The Invisible Man’, article by Stephen Marshall, p 16-33. Includes extensive biographical information on the artist William Young who was known as Sidney Goodwin. Includes 20 colour illustrations.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Goodwin Sidney 1875-1944 aka William Youngview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. ‘The Invisible Man’, article by Stephen Marshall, p 16-33. Includes extensive biographical information on the artist William Young who was known as Sidney Goodwin. Includes 20 colour illustrations.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Hurley Frankview full entry

Reference: Photography, early cinema and colonial modernity : Frank Hurley's synchronized lecture entertainments, by Robert Dixon.
[’"Australian photographer and film maker Frank Hurley became an international celebrity through his reporting of the Mawson and Shackleton Antarctic Expeditions, the First and Second World Wars, the England-Australia air race of 1919, and his own expeditions to Papua in the 1920s. This book is an account of his stage and screen practice in the context of early twentieth-century mass media. 'Photography, Early Cinema and Colonial Modernity' is not a biography of Frank Hurley the man; it is instead an examination of the social life of the many marvellous and meaningful things he made as a professional photographer and film maker in the early twentieth century: the negatives, photographic prints, lantern slides, stereographs, films, diaries and newspaper articles. His stage and screen practices offer an insight into Australia's engagement with the romance and wonder of international modernity in the early years of the twentieth century. The level of description at which this volume works is not that of personality or the originary events of Hurley's life - the Mawson and Shackleton Antarctic Expeditions, and the First and Second World Wars - but the media events he worked so hard and so professionally to create. He called them his 'synchronized lecture entertainments'. [NP] These media events were at once national and international; they involved Hurley in an entire culture industry comprising many kinds of personnel, practices and texts that were constantly in movement along global lines of travel and communication, and in a variety of institutional locations around the world. This raises complex questions both about the authorship of Hurley's photographic and filmic texts - which were often produced and presented by other people - and about their ontology, since they were in a more or less constant state of re-assemblage in response to changing market opportunities. This unique study re-imagines, from inside the quiet and stillness of the archive, the prior social life of Hurley's creations as they were once accelerated through the complicated topography of the early twentieth century's rapidly internationalizing mass media landscape. As a way to conceive of that space and the social life of the people and things within it, this study uses the concept of 'colonial modernity'. "--
"'Photography, Early Cinema and Colonial Modernity' is not a biography of Frank Hurley the man; it is instead an examination of the social life of the many marvellous and meaningful things he made as a professional photographer and film maker in the early twentieth century: the negatives, photographic prints, lantern slides, stereographs, films, diaries and newspaper articles. His stage and screen practices offer an insight into Australia's engagement with the romance and wonder of international modernity in the early years of the twentieth century. The level of description at which this volume works is not that of personality or the originary events of Hurley's life - the Mawson and Shackleton Antarctic Expeditions, and the First and Second World Wars - but the media events he worked so hard and so professionally to create. He called them his 'synchronized lecture entertainments'"--
Full contents • Introduction: Australia's Embrace of Colonial Modernity
• 1. 'The Home of the Blizzard': Douglas Mawson's synchronized lecture entertainment
• 2. Guided spectatorship: exhibiting the Great War
• 3. Touring the nation: Shackleton's 'Marvellous Moving Pictures' and the Australian season of 'In the Grip of the Polar Pack-Ice'
• 4. Entr'acte: 'Sir Ross Smith's Flight', aerial vision and colonial modernity
• 5. Colonial modernity and its sthers: 'Pearls and Savages' as a multi-media project.

Publishing details: New York : Anthem Press, 2012
xxxi, 256 p. : ill., map, with bibliographical references (p. 239-246) and index.
Ref: 1000

women artistsview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia, Part 2: Exhibitors at L’Exposition Universelle, Paris, 1900 and Glasgow International Exhibition, 1902,’ by Dorothy Erickson. Includes biographical information on the artists discussed, With 28 illustrations.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

L’Exposition Universelle, Paris 1900 - Australian exhibitorsview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia, Part 2: Exhibitors at L’Exposition Universelle, Paris, 1900 and Glasgow International Exhibition, 1902,’ by Dorothy Erickson. Includes biographical information on the artists discussed, With 28 illustrations.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Glasgow International Exhibition, 1902 - Australian exhibitorsview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia, Part 2: Exhibitors at L’Exposition Universelle, Paris, 1900 and Glasgow International Exhibition, 1902,’ by Dorothy Erickson. Includes biographical information on the artists discussed, With 28 illustrations.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Anderson J S Mrsview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia, Part 2: Exhibitors at L’Exposition Universelle, Paris, 1900 and Glasgow International Exhibition, 1902,’ by Dorothy Erickson. Includes biographical information on the artists discussed, With 28 illustrations.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Cowan Dircksey Constance 1880-1954view full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia, Part 2: Exhibitors at L’Exposition Universelle, Paris, 1900 and Glasgow International Exhibition, 1902,’ by Dorothy Erickson. Includes biographical information on the artists discussed, With 28 illustrations.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Creeth May 1854-1947view full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia, Part 2: Exhibitors at L’Exposition Universelle, Paris, 1900 and Glasgow International Exhibition, 1902,’ by Dorothy Erickson. Includes biographical information on the artists discussed, With 28 illustrations.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Dorrington Annie 1866-1926 nee Whistlerview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia, Part 2: Exhibitors at L’Exposition Universelle, Paris, 1900 and Glasgow International Exhibition, 1902,’ by Dorothy Erickson. Includes biographical information on the artists discussed, With 28 illustrations.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Finnerty Etta (Henrietta) 1863-1926view full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia, Part 2: Exhibitors at L’Exposition Universelle, Paris, 1900 and Glasgow International Exhibition, 1902,’ by Dorothy Erickson. Includes biographical information on the artists discussed, With 28 illustrations.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Ford Gertrude E c1873-1909view full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia, Part 2: Exhibitors at L’Exposition Universelle, Paris, 1900 and Glasgow International Exhibition, 1902,’ by Dorothy Erickson. Includes biographical information on the artists discussed, With 28 illustrations.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Gibbs May 1877-1969view full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia, Part 2: Exhibitors at L’Exposition Universelle, Paris, 1900 and Glasgow International Exhibition, 1902,’ by Dorothy Erickson. Includes biographical information on the artists discussed, With 28 illustrations.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Hardey E Mrs of Geraldton or Hardyview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia, Part 2: Exhibitors at L’Exposition Universelle, Paris, 1900 and Glasgow International Exhibition, 1902,’ by Dorothy Erickson. Includes biographical information on the artists discussed, With 28 illustrations.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Thomas W C of Albanyview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia, Part 2: Exhibitors at L’Exposition Universelle, Paris, 1900 and Glasgow International Exhibition, 1902,’ by Dorothy Erickson. Includes biographical information on the artists discussed, With 28 illustrations.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Creeth Helenview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia, Part 2: Exhibitors at L’Exposition Universelle, Paris, 1900 and Glasgow International Exhibition, 1902,’ by Dorothy Erickson. Includes biographical information on the artists discussed, With 28 illustrations.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Brockman Deborah Drake brief referenceview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia, Part 2: Exhibitors at L’Exposition Universelle, Paris, 1900 and Glasgow International Exhibition, 1902,’ by Dorothy Erickson. Includes biographical information on the artists discussed, With 28 illustrations.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Hackett Lady later Deborah Drake Brockman brief referenceview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia, Part 2: Exhibitors at L’Exposition Universelle, Paris, 1900 and Glasgow International Exhibition, 1902,’ by Dorothy Erickson. Includes biographical information on the artists discussed, With 28 illustrations.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Whistler Annie later Dorrington 1866-1926 nee view full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia, Part 2: Exhibitors at L’Exposition Universelle, Paris, 1900 and Glasgow International Exhibition, 1902,’ by Dorothy Erickson. Includes biographical information on the artists discussed, With 28 illustrations.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Finnerty Ettaview full entry

Reference: Glimpses of Western Australia, by Etta Finnerty,

Publishing details: London : F. S. Weller, Lith, [1890?]
[25]p. : (chiefly illus.)
Ref: 1000

Hardy E Mrs of Geraldton or Hardeyview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia, Part 2: Exhibitors at L’Exposition Universelle, Paris, 1900 and Glasgow International Exhibition, 1902,’ by Dorothy Erickson. Includes biographical information on the artists discussed, With 28 illustrations.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

merchants tokensview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. article by Peter Lane titled ‘South Australian mid-19th century merchants’ tokens’, p44-54
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

tokens - merchants tokensview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. article by Peter Lane titled ‘South Australian mid-19th century merchants’ tokens’, p44-54
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

medals - merchants tokensview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. article by Peter Lane titled ‘South Australian mid-19th century merchants’ tokens’, p44-54
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Grace-Cocks collection of Australian fobs & medalsview full entry

Reference: The Grace-Cocks collection of Australian fobs & medals / editors: Deirdre Grace and Robin Nichols; photography: Jack Grace. The Australian fobs and medals in this publication were collected independently, over a period of more than 40 years, by Jack Grace and his good friend the late Graham Cocks. Most of them were purchases made in order to research marks for the book "Australian Jewellers makers and marks" which was published in 1992. Most of the collection ranges from the late nineteenth century to the early twentieth century and gives an interesting insight to the social history of Australia. Although most were mass produced, there are some which were designed and handcrafted by gifted Australian jewellers.

Includes bibliographical references and index.
Publishing details: Strawberry Hills, NSW : Momento
Description [Sydney, New South Wales] : Cheltain, 2020, 209 pages : illustrations (chiefly colour), portraits.
Ref: 1000

medalsview full entry

Reference: see The Grace-Cocks collection of Australian fobs & medals / editors: Deirdre Grace and Robin Nichols; photography: Jack Grace. The Australian fobs and medals in this publication were collected independently, over a period of more than 40 years, by Jack Grace and his good friend the late Graham Cocks. Most of them were purchases made in order to research marks for the book "Australian Jewellers makers and marks" which was published in 1992. Most of the collection ranges from the late nineteenth century to the early twentieth century and gives an interesting insight to the social history of Australia. Although most were mass produced, there are some which were designed and handcrafted by gifted Australian jewellers.

Includes bibliographical references and index.
Publishing details: Strawberry Hills, NSW : Momento
Description [Sydney, New South Wales] : Cheltain, 2020, 209 pages : illustrations (chiefly colour), portraits.

fobsview full entry

Reference: see The Grace-Cocks collection of Australian fobs & medals / editors: Deirdre Grace and Robin Nichols; photography: Jack Grace. The Australian fobs and medals in this publication were collected independently, over a period of more than 40 years, by Jack Grace and his good friend the late Graham Cocks. Most of them were purchases made in order to research marks for the book "Australian Jewellers makers and marks" which was published in 1992. Most of the collection ranges from the late nineteenth century to the early twentieth century and gives an interesting insight to the social history of Australia. Although most were mass produced, there are some which were designed and handcrafted by gifted Australian jewellers.

Includes bibliographical references and index.
Publishing details: Strawberry Hills, NSW : Momento
Description [Sydney, New South Wales] : Cheltain, 2020, 209 pages : illustrations (chiefly colour), portraits.

Floate H H Ballaratview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. Advertisement for a c1925 hand-beaten copper basket being offered by Peter Walker Fine Art, p59
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Duggin Shappere & Co jewellersview full entry

Reference: see Australiana magazine, February, 2021, vol. 43, No. 1. Advertisement for a gold kookaburra brooch being offered by J. B. Hawkins Antiques, on back cover.
Publishing details: Australiana, February, 2021, vol. 43, No. 1.

Basing Charles 1865-1933view full entry

Reference: see lot 2482: Pook & Pook, Inc.
February 24, 2021, 10:00 AM EST
Downingtown, PA, US., Charles Basing (Australian 1865-1933) oil on canvas impressionist landscape signed lower right, 12" x 16".

Taylor Angus South African exh Australiaview full entry

Reference: see lot 47, Aspire Art Auctions
March 4, 2021, 7:00 PM SAST
Cape Town, South Africa: Angus Taylor, b.1970 South Africa, Standing man
Dimensions
260 x 147 x 94 cm including base
Artist or Maker
Angus Taylor
Medium
Belfast granite on a steel ligature
Condition Report
The overall condition is good.
Exhibited
University of Johannesburg Art Gallery, Johannesburg, Deduct, 2006.
Notes
Throughout history stone has been the medium of monuments, from the colossal granite image of King Ramesses II to the Italian Renaissance’s David. The masters have appreciated the many qualities varying stones brought to the creative process, but not until recent times has the raw, unrefined character of stone been celebrated in the art canon. Angus Taylor does not deter from the inherent materiality of his mediums, he draws inspiration from them. In Standing man, granite appears unadulterated as if summoned from the earth rather than by the hand of Donatello; Taylor creates a figure from stone without employing the traditional method of mallet and chisel. Standing 2.6 metres tall, the heavy weight of granite rocks is strategically balanced, suspended and affixed by steel rods to form this striking monument of a figure. In keeping with South Africa’s great contemporary sculptors, Taylor continues to ambitiously push the use of traditional mediums in new refreshing ways. Standing man was exhibited at Angus Taylor’s solo exhibition Deduct at the University of Johannesburg Art Gallery in 2006. Since starting his career in the mid 90s, he has exhibited locally and internationally, notably in Australia and London. In 2017, Taylor was awarded the Helgaard Steyn Award for Sculpture. JKS

Ritchie Charles Edward 1863-1948view full entry

Reference: see CATHERINE SOUTHON AUCTIONEERS, 24 Feb 2021, Chislehurst , Kent. UK: Charles Edward Ritchie (Australian, 1863-1948)

'Profile portrait of a young lady', pastel, signed in pencil and dated March 1908, mounted, framed, bears 'The New Gallery, Summer Exhibition label',

within mount 47.5 cm. x 32.5 cm., overall 79 x 61 cm.

Weston Neville 1936-2017view full entry

Reference: see LYON & TURNBULL auction, 10 Mar 2021 , lot 84: NEVILLE WESTON (WELSH 1936-2017) PIAZZA DELLA ROTONDA Signed and dated '02, inscribed with title verso, oil on canvas

(76cm x 101.5cm (30in x 40in))

Footnote: Note: Neville Weston was a Welsh-born painter, academic, and writer, and was based in Australia for many years. Weston studied at Stourbridge School of Art 1952-1956, before attending the Slade School, University College, London, where he was awarded a University Diploma of Fine Art. At Slade, he was a student of William Coldstream, Claude Rogers, as well as Lucian Freud and Ernst Gombrich. Following on from his time at Slade, he studied under Anthony Blunt and Douglas Cooper at the Courtauld Institute of Art History. From 1961- 1965, he was principal Lecturer at Liverpool College of Art and a part of the W.E.B.A. Design group. From 1965-75, he lectured at Padgate College of Education, University of Manchester. His first association with Australia came about through a visiting Fellowship at the Humanities Research Centre, Australian National University, Canberra. In 1977, he relocated to Australia to teach Art History and Theory at the South Australian School of Art, University of South Australia. He later moved to Perth and became Dean of the School of Visual Arts at the Western Australian Academy of Performing Arts, 1991-2001, at the Edith Cowan University, Perth. Weston has written extensively on Australian Art and is the biographer of Leading Australian Artist Lawrence Daws. He continued to exhibit actively, with his works included in the Royal Academy Summer Show, 2006, and The Adam Street Club, 2007, London. His last major exhibition was for the Threadneedle Prize, at the Mall Galleries, London in 2010.

Allum Frank Ernest view full entry

Reference: see William Bunch Auctions & Appraisals,
Chadds Ford , PA, USA, 24.2.21, lot 4580: Frank Ernest Allum, 20th C Australian, landscape painting depicting a woman on a wooded path, oil on canvas, signed "F. Ernest Allum", 21-1/4" x 17", framed 28-1/2" x 24-1/2", very good condition, professionally restored and relined

Meldrum Maxview full entry

Reference: see Parade magazine, no. 155, October 1963 , article titled ‘Max Meldrum - Controversial Australian Artist’, p8-10.
Publishing details: Parade, no. 155, October 1963.

Hunt Dianaview full entry

Reference: see sign in Moore Park, Paddington, Sydney: ‘The sculpture and fountain in the middle of Kippax Lake was designed by Diana Hunt in 1967, the result of a competition held by Sydney City Council... it portrays a female athlete and is constructed in metal on a concrete base.’

Namatjira Albert view full entry

Reference: The life and times of Albert Namatjira, by Ken McGregor.
[’ted pictorial boards in illustrated dust jacket, pp. 448, extensively illustrated. Text by Ken McGregor, designed and edited by Jenny Zimmer. Printed in an edition of 1000 copies. New copy. Printed and produced entirely in Australia.
Destined to be regarded as the most authoritative, thoroughly researched and most comprehensively illustrated monograph on Namatjira for years to come, Ken McGregor’s eagerly-awaited The life and times of Albert Namatjira is an insightful study of the man and his art, produced in close consultation with the Namatjira family and Namatjira Legacy Trust.
The substantial text (which includes photographic illustrations) occupies the first 170 pages, and follows Namatjira from his early life at Hermannsburg and his ostracism for marrying a woman of the wrong skin group, to his association with Rex Battarbee and the development of a distinctive painting style which led to his first solo exhibition in Melbourne in 1938; it investigates the artist’s response to public acclaim and the consequences that ensued from commercial success, his struggles against bureaucracy and exploitation, and the sadness and alienation of his final days at Morris Soak.
The next 250 pages illustrate over 450 works from across Namatjira’s career chronologically (many of the key works are illustrated full-page) in three discrete sections: Catalogue of Works of the 1930s; Catalogue of Works of the 1940s; Catalogue of Works of the 1950s. These stunning colour plates are followed by two short chapters, Solo Exhibitions and Selected Group Exhibitions. There is also a bibliography and an index.
‘The words in this book are not written from a white man’s perspective nor a black man’s perspective, they are a truthful account of a very talented man living and working at a particular time in history’ – from the Foreword by Mervyn Rubuntja, Chairman, Iltja Ntjarra Art Centre and Independent Director, Namatjira Legacy Trust, Alice Springs.
‘Albert Namatjira is the reason non-Indigenous Australians started to recognise the work of Aboriginal artists. His paintings have become synonymous with our vision of the Australian outback, and he must be credited with pioneering contemporary Indigenous art.‘ (Ken McGregor)
Note: Profits from the sale of this book will go to support the Iltja Ntjarra Many Hands Art Centre, Alice Springs.’]
Publishing details: Badger Editions, 2021. Quarto (310 x 253 mm), laminated pictorial boards in illustrated dust jacket, pp. 448, extensively illustrated. Text by Ken McGregor, designed and edited by Jenny Zimmer. Printed in an edition of 1000 copies.
Ref: 1000

Ricketts Williamview full entry

Reference: WILLIAM RICKETTS SANCTUARY by
William Ricketts for the William Ricketts Sanctuary. Includes numerous photographs of Rickett's sculptures of Aboriginal Australians and natural forms. Puts forward some of Ricketts' spirituality and includes a poem by him and reprinted extracts from The Essene Gospel of Peace of Jesus Christ by E. B. Szekely. A signed catalogue for the William Ricketts Sanctuary. Includes numerous photographs of Rickett's sculptures of Aboriginal Australians and natural forms. Puts forward some of Ricketts' spirituality and includes a poem by him and reprinted extracts from The Essene Gospel of Peace of Jesus Christ by E. B. Szekely.
Publishing details: [Mount Dandenong]: [William Ricketts Sanctuary], No date.
First Edition. Signed by Author
20.5cm x 26cm. [8] pages, sepia illustrations. Pictorial saddle-stapled wrappers.

Ref: 1000

Ellis Nicoleview full entry

Reference: Nicole Ellis: Fabrications, curated by Tony Oates. Exhibition Fri 19 February — Sun 11 April 2021.
This exhibition covers 30 years of the Sydney-based artist Nicole Ellis’ art-making. It surveys her rich and complex involvement with collage, assemblage and found materials. Fastidiously selected textiles comprise the “palettes” and provide tones and textures that she moulds into consistently beautiful, poised, luminous compositions.
“I enjoy incidental elements,” Ellis explains, “flaws, traces of human touch and gesture, and I seek out different assemblage techniques through experimentation and research. I enjoy the qualities of the worn, aged, broken, torn, the seeming casual, the imperfect, traces of paint and reversals.”
However, as critic Anna Johnson has observed, Ellis’s method of generating images is “riven with quiet reversals”:
“Post-objective and anti-descriptive, her work involves the cohesive life of the materials themselves, and the cleaving point where surfaces meet. Here is ‘painting’ that dwells in residue, damage and remains. The results cannot be abstracted from the process. They are the process.”
Nicole Ellis, Fabrications is curated by Tony Oates
Publishing details: Drill Hall Gallery, 2021. [Catalogue details to be included].
Ref: 1000

Ellis Nicoleview full entry

Reference: see https://www.nicoleellis.net/

Fitzroy Robertview full entry

Reference: see Hordern House catalogue, California, 2021:
Point Nago Spirito Santo
Original watercolour, 85 x 390mm., inscribed “Point Naga S.65.W. H.M.S Beagle Jan 7 1832” lower left; “Spirito Santo 3.20 distant 5 miles” lower centre; on verso inscribed “Fanny 1836”; backed on tissue and mounted. South America,7 January 1832.
original panorama From the Beagle voyage
Striking coastal profile, thought to be in the hand of Robert Fitzroy, commander of HMS Beagle. The image is dated 7 January 1832, on which day the Beagle, just 10 days out of Plym- outh on what would become one of the most famous expeditions in English maritime history, was off Point Naga heading towards Santa Cruz in the Canary Islands. On 6 and 7 January Fitzroy made diary entries (pp. 20-21) that ‘We are now a few miles, tacking with a light wind to Santa Cruz... Point Naga, which we are doubling, is a rugged uninhabited mass of lofty rock with a most remarkably bold & varied outline. In drawing it you could not make a line straight. Everything has a beautiful appearance: the colours are so rich and soft...’.
Unfortunately for the Beagle’s crew, within half a mile of Santa Cruz the consul delivered
an order that the ship must undergo rigorous quarantine for 12 days because reports had reached the Health Office of cholera in England. Reluctantly, an alternate course towards the Cape Verde Islands was decided upon causing ‘great disappointment to Mr. Darwin who had cherished a hope of visiting the Peak. To see it -to anchor and be on the point of landing, yet to be obliged to turn away without the slightest prospect of beholding Teneriffe again - was indeed to him a real calamity...’.

Forster Reinhold Johann 1729-1798view full entry

Reference: see Hordern House catalogue, California, 2021:
Johann Reinhold Forster. A Catalogue of the Animals of North America.
Octavo, with an engraved frontispiece; a delightful copy in its original binding of unlettered speckled sheep. London, B. White, 1771.
Forster’s collecting guide: a primer For cook’s second voyage
First edition, and a rare early work by the German-born scientist most famous for sailing on Cook’s second voyage. Forster was a difficult man but a serious researcher, and this work represents his attempt to systematise the fragmented field of natural history studies from the Americas, largely based on specimens he had access to in British collections, particularly those of Joseph Banks (marked ‘B’) and Anna Blackburne (‘Mus. Bl,’). Averil Lysaght has pointed out that the Banks material derives from his important visit to Newfoundland and Labrador in 1766.
Ref: 1000

Arago Jacquesview full entry

Reference: see Hordern House catalogue, California, 2021:
Arago, Jacques.
Original watercolour “L’Intérieur d’un ménage, à Coupang”...
Fine watercolour, the image 198 x 265 mm., on laid paper ; pencil note “Mr. Arago” in Freycinet’s later hand at bottom left; mounted.Timor, during the expedition of the Uranie, 1818.
BeautiFul original drawing From the uranie expedition By Freycinet’s oFFicial artist
Fine scene in Timor, drawn by Jacques Arago during the visit of the Freycinet expedition in late 1818. Arago’s observations on Timor were acute, and he is known to have toured and made sketches in both the wealthy Chinese and Malay quarters. A series of his Timor scenes was later included in the official Freycinet voyage account, but this scene was not made into an engraving and is in fact otherwise unrecorded. Jacques Etienne Arago (1790-1855) was the official artist on Freycinet’s voyage, and is known for the witty and caustic account he later wrote as much as for his fine sketches. As with many other Arago drawings relating to the voyage, this was evidently subsequently owned by Freycinet, and it is his handwriting that signs the picture “Mr. Arago” at bottom left.

le Breton Louisview full entry

Reference: see Hordern House catalogue, California, 2021:
LE BRETON, Louis.
La Marine au XIXe siècle par Lebreton...
Oblong album measuring 245 x 335 mm., title-page and twelve tinted plates, fine in original decorated papered boards. Paris,Théodore Lefèvre, circa 1856.
marine lithographs By dumont d’urville’s artist
A particularly attractive French lithographic album of marine scenes by a seasoned voyage artist. As the title boasts, Louis Le Breton served as artist on Dumont d’Urville’s second voyage to the Pacific and Antarctic during 1837-1840. He was taken on in 1837 as assistant surgeon on board the Astrolabe. Since he showed a talent for drawing, Ernest Goupil, the official artist on board, took him under his wing and began to train him as a painter. When illness struck the crew of both ships in 1838, Goupil became one of the victims, dying in January 1840 in Hobart Town. Dumont d’Urville then appointed Le Breton as the expedition’s artist; on their return to Paris the drawings of both Goupil and Le Breton were used for the magnificent lithographs in the huge publication of the official account of the voyage.

Ref: 1000

Cant James view full entry

Reference: James Cant : six signed artist’s prints. Introduction by Clive Turnbull. The prints are: The Fish; The Reptile; The Bird; The Struggle for Life; The Lust for Power; and Adam, Eve and Cain.
Publishing details: Sydney : 1948. Folio, 370 x 320 mm, lettered papered boards, cloth spine, letterpress bifolium, six cliche-verre prints, printed in blue pigment, each from one hand-drawn glass plate, each signed and numbered lower right. Limited to 150 copies.
Ref: 1000

Missingham Halview full entry

Reference: Bush images: sixteen original lithographs
Publishing details: Sydney: The Beagle Press, 1982. Folio, blue cloth board portfolio, yellow wrappers, yellow title plate and blue ribbon tie, containing sixteen signed lithographs printed in black ink from one stone on white and off-white 250 gsm Arches Velin Blanc paper at the Fred Genis Workshop, title sheet and colophon. Limited to 35 copies.
Ref: 1000

Namatjira Vincentview full entry

Reference: Vincent Namatjira – The Royal Tour.
[’‘Despite finding their bearings amidst the pillars of colonialism, power and First Nations identity, Vincent Namatjira’s paintings are almost impossibly light and personal in their candour. Wranglings with race, politics and the empire coalesce with humour, humility and personal history. We grin as much as we grimace.
Made while in lockdown on the APY Lands in remote Central Australia during the COVID-19 pandemic, the works that populate Namatjira’s debut artist book The Royal Tour are as intimate as they are interventionist. Painting directly onto the pages of commemorative royal photo-books that he had stumbled across at op-shops in Alice Springs, Namatjira – whose famed great grandfather Albert Namatjira won the Queen Elizabeth II Coronation Medal in 1953 for his services to art and went on to meet the monarch in 1954 – places himself front-and-centre amidst the pageantry of various historical royal occasions, engagements and tours. Here, he rides shotgun in the Gold State Coach with the Queen, waving the Aboriginal flag out the window; gives a grinning thumbs-up from the Buckingham Palace balcony; and leads Charles and Diana on an outback tour.
But for Namatjira – who, in 2020 alone, became the first Indigenous Australian artist to win the Archibald Prize and was awarded an Order of Australia Medal – the devil is in the detail. As he offers in fellow Indigenous artist Tony Albert’s essay for the book: ‘Whenever I paint powerful figures like the Royals, I’m trying to take away some of their colonial power and ownership. I use a mischievous self-portrait and a bit of cheeky humour as a kind of equaliser, a way of putting everyone on the same level … When I place an Aboriginal person front-and-centre or use the Aboriginal flag in a painting, it is as a symbol of our strength and resilience.’
Vincent Namatjira OAM (b. 1983, Alice Springs) is a Western Arrernte man living and working in Indulkana, South Australia. Namatjira was awarded the Archibald Prize 2020 and the Ramsay Prize 2019. In 2018, Namatjira’s work was included in the major national touring touring exhibition Just Not Australian, the Asia Pacific Triennial at the Queensland Art Gallery/Gallery of Modern Art, as well as major exhibitions at the Australian Centre of Contemporary Art, Hazelhurst Gallery and Warrnambool Art Gallery. Previous institutional exhibitions include Indigenous Australia: Enduring Civilisation at the British Museum, London, 2015; TarraWarra Biennial, TarraWarra Museum of Art 2016; and Tarnanthi Festival of Contemporary Aboriginal and Torres Strait Islander Art, Art Gallery of South Australia 2017 and 2018. He has exhibited at Art Basel Hong Kong 2019, Art Basel Miami Beach 2018, Sydney Contemporary 2017 and Art London 2016. Namatjira’s work is held in significant institutional collections including the British Museum, Art Gallery of New South Wales, Art Gallery of Western Australia, Art Gallery of South Australia and Queensland Art Gallery/Gallery of Modern Art.’ – the publisher.’]
Publishing details: Melbourne : Perimeter Editions, 2020. Quarto (320 x 240 mm), illustrated wrappers, pp. 48, illustrated. New copy. Printed in a small edition of 1000 copies.
Ref: 1000

Wandi (Olga Miller)view full entry

Reference: The legends of Moonie Jarl
/ retold by Moonie Jarl (Wilf Reeves) ; illustrated by Wandi (Olga Miller).
Publishing details: Brisbane : The Jacaranda Press, 1964. First edition. Quarto, publisher’s pictorial boards in dust jacket), 44 pp, illustrated in colour and black and white;
Ref: 1000

Miller Olga (Wandi)view full entry

Reference: see The legends of Moonie Jarl
/ retold by Moonie Jarl (Wilf Reeves) ; illustrated by Wandi (Olga Miller).
Publishing details: Brisbane : The Jacaranda Press, 1964. First edition. Quarto, publisher’s pictorial boards in dust jacket), 44 pp, illustrated in colour and black and white;

Janes Joyceview full entry

Reference: Lazy the pig, and his Chinese adventures
Drawings by Joyce Janes.
Publishing details: Melbourne : Ramsay Ware, [1945] Quarto, illustrated cards, pp. 32, illustrated.
Ref: 1000

Janes Joyceview full entry

Reference: Dandelion Dick and other stories / by Leila Pirani ; drawings by Joyce Janes
by Pirani, Leila

Publishing details: Melbourne : Ramsay Ware Pub., [195-?]
Book
Ref: 1000

Janes Joyceview full entry

Reference: Curly Top and the North Wind / by Anne Randall ; drawings by Joyce Janes
by Randall, Anne

Publishing details: Melbourne : Ramsay-Ware Publishing, [194-?]
Ref: 1000

Durack Elizabetview full entry

Reference: All-About. The story of a black community on Argyle Station, Kimberley, by Mary and Elizabeth Durack (illustrator)

Publishing details: Sydney : The Bulletin, 1935. First edition. Quarto, textured boards with cloth spine, illustrated dustjacket (chipped with loss, stains), tipped-in colour frontispiece, pp. 105, vignette illustrations,
Ref: 1000

Adams Heatherview full entry

Reference: Your daughter’s at the door! [As noted on Trove, quoting bookseller Nicholas Pounder : “A lesbian anthology. Poetry and photography by Jill Flounders and drawings by Heather Adams. the editorial address is 50 Little La Trobe Street (shared with Vashti’s Voice) and the address for Panic Press was 35 Little La Trobe Street, the home of Women’s Liberation Office”].
Publishing details: Melbourne : printed by Panic Press, circa 1975]. Octavo, illustrated wrappers, pp. 44, illustrations.

Ref: 1000

Bilu Asherview full entry

Reference: Asher Bilu
A catalogue of 22 works by the Israeli born artist who arrived in Australia in 1956. Rare catalogue from the short lived (1959 – 60) gallery, with no copies recorded in institutions. The artist’s first solo exhibition and his first exhibition in Australia.
Publishing details: [Melbourne] : 43 Dalgety Street, circa 1959. Octavo, lettered wrappers, pp. 4,
Ref: 1000

High Liht Theview full entry

Reference: The High Light. A souvenir volume by the Adelaide Drawing and Sketch Club. Artistic and literary.with illustrations by D. H. Souter, Harry Weston, John Shirlow, and other, literary contributions by E. J. Brady, Mary Gilmore, Hugh McCrae, Bernard O’Dowd, Kathleen Hotson and others [to be indexed]
Publishing details:
Adelaide : George Robertson, 1910. Quarto, illustrated wrappers by E. A. Wolff (short tears to the yapp edges), colour frontispiece by Archibald Collins, pp. 112,
Ref: 1000

Adelaide Drawing and Sketch Clubview full entry

Reference: see The High Light. A souvenir volume by the Adelaide Drawing and Sketch Club. Artistic and literary.with illustrations by D. H. Souter, Harry Weston, John Shirlow, and other, literary contributions by E. J. Brady, Mary Gilmore, Hugh McCrae, Bernard O’Dowd, Kathleen Hotson and others.
Publishing details:
Adelaide : George Robertson, 1910. Quarto, illustrated wrappers by E. A. Wolff (short tears to the yapp edges), colour frontispiece by Archibald Collins, pp. 112,

Phillips Harryview full entry

Reference: The Beautiful Illawarra, South Coast, N. S. W. Willoughby, N.S.W. ‘Photographed and published by H. Phillips, Willoughby, N.S.W., for C. Moore, Bulli Pass Refreshment Kiosk (right at the Lookout), where Picnic Parties and Tourists are amply catered for’.
Publishing details: H. Phillips, [circa 1930]., Small oblong quarto, pictorial wrappers, containing double-sided concertina foldout with 6 b/w half-tone photographic views of the Bulli area, and the reverse side with 6 colour printed reproductions of paintings of Sydney Harbour, one captioned ‘Sydney Harbour Bridge, when completed’, which conveniently helps to date the publication; inside front cover with inscription dated 1943.

Ref: 1000

Tanner Edwinview full entry

Reference: Edwin Tanner : mathematical expressionist
Curated by Anthony Fitzpatrick. Catalogue for an Exhibition held at TarraWarra Museum of Art
Publishing details: Melbourne : TarraWarra Museum of Art, November 2018. Quarto, pictorial laminated boards, pp. 136, illustrated. New copy of an out of print title. Printed in a short edition of 500 copies which quickly sold out during the exhibition.
Ref: 1000

Goss Michaelview full entry

Reference: Oil paintings on glass by Michael Goss
Publishing details: Melbourne : Pinacotheca Gallery, [1969]. Exhibition catalogue, pp. [4], catalogue of works.
Ref: 1000

Napurrurla Yulyurlu Lorna Fencer view full entry

Reference: Yulyurlu Lorna Fencer Napurrurla.
Yulyurlu Lorna Fencer Napurrurla (c. 1920s-2006) was an important pioneer of the Central Desert art movement. She began painting with acrylics at the Lajamanu School art program in 1986, and within a decade had emerged as one of the most original and highly sought-after artists in the region.
This comprehensive profile of Yulyurlu illustrates her bold and expressive artwork, with its brilliant use of colour and ongoing graphic explorations of her Yam Dreaming complex from the Tanami Desert. Collectively these represent a major transitional moment in the history of the contemporary Indigenous art movement.
Essays by Barbara Ambjerg Pedersen, Chips Mackinolty and Christine Nicholls.
‘This magnificent production will confirm Napurrurla’s place in the pantheon of artists of the Central Desert art movement and her honoured place in contemporary Australian art.’ – Paul Newbury, Bonzer Literary Blog
‘A national treasure in itself.’ – Will Owen, Aboriginal Art & Culture: an American eye
‘Insights into Napurrurla’s artmaking process, including her experimentation with colour, gestural brushwork, layering of pigments and abstraction of natural forms, offer informative starting points for practical and critical classroom investigations.’ – SCAN Journal, Vol. 35, No. 2

Publishing details: Wakefield Press, 2011 (2012 reprint). Quarto, 260 x 220 mm, illustrated wrappers, pp. 128, illustrated.
Ref: 1000

Grieve Robertview full entry

Reference: Robert Grieve, catalogue of 27 works
Publishing details:
Melbourne : Leveson Street Gallery, circa1966. Tall octavo, folded sheet, pp. 4,
Ref: 1000

Rupert-Jones John Archibald view full entry

Reference: John Archibald Rupert-Jones was an amateur artist. An oil painting by him of the clipper barque ’Helena Mena’, 1891 was made by him on the voyage from England to Fremantle in 1891. Correspondence, dated 2021-21 relating to this painting is with the maritime collection of the Western Australian Museum.

Rocks The view full entry

Reference: see Painting The Rocks - The Loss of Old Sydney by Paul Ashton, Caroline Butler-Bowdon, Anna Cossu, Wayne Johnson. Illustrated. [to be indexed]
Publishing details: Historic Houses Trust, 2010, hc, no dw as issued, 144pp. Indexed

Rocks The paintingsview full entry

Reference: see Insites
Publishing details: Winter 2010

Matt-Slater-Wiggview full entry

Reference: see CUSACK, Dymphna. KANGA-BEE AND KANGA-BO. Illustrations by Matt- Slater-Wigg.
Publishing details: Syd. Botany House. 1945. 4to. Ill.wrapps. 55pp. b/w ills.

Wigg Matt-Slater or Matt-Slater-Wiggview full entry

Reference: CUSACK, Dymphna. KANGA-BEE AND KANGA-BO. Illustrations by Matt- Slater-Wigg.
Publishing details: Syd. Botany House. 1945. 4to. Ill.wrapps. 55pp. b/w ills.
Ref: 1000

Fullarton Nanview full entry

Reference: FULLARTON, Nan. FRISKY. A Story of the Australian Bush. Illustrated by the author.
Publishing details: Syd. A & R. 1956. Or.ill.bds. 80pp. col.front. & three-colour ills.
Ref: 1000

Gaze Haroldview full entry

Reference: GAZE, Harold (Illustrator) TALES OF A LITTLE BROWN MAN. By Cathryn Young.
Publishing details: Lond. Hutchinson & Co. n.d. (c.1925) Roy.8vo. Or.cl. 126pp. 6 colour plates & 17 b/w plates by Harold Gaze. 1st ed.
Ref: 1000

Gilmore D H (David Hunter)view full entry

Reference: GILMORE, D.H. THE ADVENTURES OF CATKIN AND CODLIN. Illustrated by the author.
Publishing details: Syd. A & R. 1946. Roy.8vo. Ill.bds. 53pp. Col.plates & b/w ills. by the author.
Ref: 1000

Morris Rufus view full entry

Reference: HONEY, W.H. SMOOKIE AND CO. Illustrated by Rufus Morris.
Publishing details: Syd. Bilson-Honey. 1947. 4to. Col.ill.bds. Dustjacket. unpag. (48pp.) Many Col.& b/w ills.
Ref: 1000

Morris Rufus view full entry

Reference: KAY, Timothy. FLOP THE PLATYPUS. Drawings by Rufus Morris.
Publishing details: Syd. Jons Productions. n.d. (1946) Oblong 4to. Or.qt.cl. & Col. ill.bds. unpag. (29pp.) Col.& b/w ills.
Ref: 1000

Alderton Dickview full entry

Reference: LAW, Winifred. THROUGH SPACE TO THE PLANETS. Illustrated by Dick Alderton.
Publishing details: Syd. New Century Press. 1945. Or.ill.bds. 173pp. b/w ills.
Ref: 1000

Lister Gladysview full entry

Reference: LISTER, Gladys. DAWN MOTHER.
Publishing details: Syd. A & R. 1942. Or.bds. (sl rubbed) 133pp. (browned as usual) Col. front. & b/w ills. by Gladys Lister.
Ref: 1000

Cunningham Walterview full entry

Reference: LE SOUEF, A.S. THE BROWNIE TWINS. The Story of a Ringtail Family. Illustrated by Walter Cunningham.
Publishing details: Syd. John Sands. n.d. (1955) Col.ill.bds. Dustjacket. 31pp. Many Col. ills.
Ref: 1000

Mahood Margotview full entry

Reference: MAHOOD, Margot. THE WHISPERING STONE. An Australian Nature Fantasy. Story and pictures by Margot Mahood. n.p.
Publishing details: (Melbourne) The Author. n.d. (1944) Oblong 8vo. Qt.cl. & ill.bds. 28pp. col & b/w ills.
Ref: 1000

Alsop Edithview full entry

Reference: NANKIVELL, Joice. THE COBWEB LADDER. Illustrated by Edith Alsop.
Publishing details: Melb. Lothian Book Publishing Co. 1916. Folio. Or.qt.cl.& dec.bds. 61pp. 7 full-page b/w plates & 7 other b/w ills. Illustrated endpapers.
Ref: 1000

Nicholls Sydview full entry

Reference: NICHOLLS, Syd. THE FATTY FINN BOOK. From the series of comics by Syd Nicholls appearing in “The Sunday News”. Illustrated throughout with humorous colour comic strips.
Publishing details: Syd. Artcraft Printing Co. n.d. (1928) Folio. Colour illustrated wrappers. unpag. (32pp.)
Ref: 1000

Outhwaite Ida Rentoulview full entry

Reference: OUTHWAITE, Ida Rentoul (Illustrations) BUSH SONGS OF AUSTRALIA FOR YOUNG AND OLD. Words by Annie R. Rentoul. Music by Georgette Peterson. Illustrations by Ida Rentoul Outhwaite. Imperial Edition No.336.
Publishing details: Melb. Allan & Co. Ltd. n.d. (c.1930) wrapps. with cover design by Ida Rentoul Outhwaite. unpag. (362pp.) 8 full-page b/w ills. and other
b/w ills. in the text. 1st ed.
Ref: 1000

Outhwaite Ida Rentoulview full entry

Reference: OUTHWAITE, Ida Rentoul & Grenbry. THE ENCHANTED FOREST.Ida Rentoul Outhwaite collaborated with her husband Grenbry Outhwaite on The Enchanted Forest stories, which sees a host of forest fairies adventuring with the local marsupials & getting up to mischief.
Publishing details: Lond. A. & C. Black, Ltd. 1921. Folio. Or.qt.cl. & bds. with tipped-on illustration. 93pp. Some wear to boards at edges, corners & spine. (some foxing) Insc. on half title page. Col & b/w plates. Fair copy. of a scarce title. 1st ed.
Ref: 1000

O’Harris Pixieview full entry

Reference: O’HARRIS, Pixie. WYNKEN, BLYNKEN AND NOD. Separately issued colour plate from a watercolour by Pixie O’Harris with a printed verse from Eugene Field below.
Publishing details: Syd. Women’s Budget Magazine. 1933. 19x26cm. Issued as a Supplement to the magazine in 1933.
Ref: 1000

Young Noelaview full entry

Reference: PARK, Ruth. THE MUDDLE-HEADED WOMBAT. Illustrated by Noela Young. Syd.
Publishing details: A & R. 1990. (Revised Edition)) Or.bds. Dustjacket. 255pp. Colour plates and many b/w ills.
Ref: 1000

Rees Leslie view full entry

Reference: REES, Leslie. DIGIT DICK ON THE BARRIER REEF. Illustrations by Walter Cunningham.
Publishing details: Syd. John Sands. n.d. (1942) 4to. Col.Ill.wrapps. unpag. (40pp.) Many Col.ills.
Ref: 1000

Cunningham Walter . view full entry

Reference: see REES, Leslie. DIGIT DICK ON THE BARRIER REEF. Illustrations by
Publishing details: Syd. John Sands. n.d. (1942) 4to. Col.Ill.wrapps. unpag. (40pp.) Many Col.ills.

Rees Leslie view full entry

Reference: REES, Leslie. QUOKKA ISLAND. Illustrated by Arthur Horowicz. (Spelt Horrowicz on dj inner flap.)
Publishing details: Lond. Collins. n.d. (1966) Or.bds. Dustjacket. 254pp. b/w ills. & endpaper maps.
Ref: 1000

Horowicz Arthur (Australian?)view full entry

Reference: see REES, Leslie. QUOKKA ISLAND. Illustrated by Arthur Horowicz. (Spelt Horrowicz on dj inner flap.)
Publishing details: Lond. Collins. n.d. (1966) Or.bds. Dustjacket. 254pp. b/w ills. & endpaper maps.

Cunningham Walter . view full entry

Reference: REES, Leslie. THE STORY OF SARLI THE BARRIER REEF TURTLE. Illustrated by Walter Cunningham.
Publishing details: Syd. John Sands. n.d. (1947) 4to. Or.bds. Dustjacket. 43pp. Many Col.ills.
Ref: 1000

Cunningham Walter . view full entry

Reference: REES, Leslie. THE STORY OF SHY THE PLATYPUS. Illustrations by Walter Cunningham.
Publishing details: Syd. John Sands. n.d. (1944)
4to. Col.ill.bds. Dustjacket. 47pp. Many Col.plates & two-colour ills. Dustjacket
Ref: 1000

Lambert Cview full entry

Reference: WHITFELD, J.M. THE SPIRIT OF THE BUSH FIRE SERIES. Part One. Illustrated by C.Lambert.
Publishing details: Syd. William Brooks. n.d. (c.1940) Or.qt.cl. 101pp.
Ref: 1000

Lambert Cview full entry

Reference: WHITFELD, J.M. THE SPIRIT
OF THE BUSH FIRE SERIES. Part Three. Illustrated by C.Lambert.
Publishing details: Syd. William Brooks. n.d. (c.1940) Or.qt.cl. 101pp.
Ref: 1000

Grundy Reg and Joyview full entry

Reference: BONHAMS 1793 LIMITED. IMPORTANT AUSTRALIAN ART FROM THE COLLECTION OF REG GRUNDY AC OBE AND JOY CHAMBERS-GRUNDY. Wednesday 26 June 2013 at 7pm, Overseas Passenger Terminal, Circular Quay, Sydney. Profusely illustrated in colour and black & white. Very good copy. Auction Catalogue. Australian TV producer Reg Grundy had studied art & wanted to be an artist, but ended up in television. His collection of Australian Art was auctioned in 2013 & featured early & contemporary works.
Publishing details: Syd. Bonhams Australia. 2013. 4to. Col.Ill.wrapps. 281pp.

Noakes Philipview full entry

Reference: A passion for silversmithing : Philip Noakes: gold and silversmith, by Dorothy Erickson.Includes bibliographical references and index.
Publishing details: Welshpool, Western Australia : Western Australian Museum, 2019, 228 pages : illustrations (chiefly colour), portraits (some colour) (paperback)
Ref: 1000

Art and Design in Western Australiaview full entry

Reference: see Art and Design in Western Australia: Perth Technical College 1900-2000. By Dorothy Erickson.
Publishing details: Perth: Central Metropolitan College of TAFE, 2000, p. 23.

Western Australian Art and Design view full entry

Reference: see Art and Design in Western Australia: Perth Technical College 1900-2000. By Dorothy Erickson.
Publishing details: Perth: Central Metropolitan College of TAFE, 2000, p. 23.

Gold and Silversmithing in Western Australiaview full entry

Reference: see Erickson, Dorothy. Gold and Silversmithing in Western Australia: A History.
Publishing details: Perth: UWAP, 2010.

Silversmithing in Western Australiaview full entry

Reference: see Erickson, Dorothy. Gold and Silversmithing in Western Australia: A History.
Publishing details: Perth: UWAP, 2010.

Western Australian desighersview full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

AINSCOW D M biographical information textilesview full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

BELL Eugenie Jeweller
biographical information view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

BLACK Sandra Ceramicist biographical information view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

BROOKS Philippe furniture biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

BROMELL Lucy biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

Brown Toby biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

CAR DRIESENS biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

CARR T G leather biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

CARTER Andrew Stage Design biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

COMBES, Deborah biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

COLLINS Greg biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

DRYSDALE pippin biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

Erasmusdesigns biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

Erickson Dorothy J
biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

FARMER J biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

FARREN A biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

FOX Alan biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

GAUNT P biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

GOSS B K biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

GALLOP Geoff biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

GRANT Naomi biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

GREGG Catriona biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

HOLST Glen biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

KOTAI Bela biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

KLINAC Maree biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

KNOTT Mary biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

King-Van Keppel Elsje biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

Van Keppel Elsje (King) biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

LOWE Peter biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

LOWRY Coral biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

LUGG Wendy biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

MALCOLM Dean biographical information
view full entry

Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

MATTHEWS Janie biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

MATTHEWS Glenice biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

MELLOR Angela biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

NEIL Anne biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

TEPPER Steve biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

NOAKES Philip biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

O’BRIEN Philippa biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

PARSONS Simon biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

PARSONS Julie biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

PETERS Felicity biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

REILLY Gerry biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

REID Christopher biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

REIN Jeannette biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

RIDGEWELL Brenda biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

WALKER David biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

WALLACE Mary biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

WHITELEY Jane biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

WINKLER Rita biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

ZETTERGREN Ulla biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

BARROW Jane biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

BAXTER Maggie biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

BERNSTEINS Maiguta biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

Boroujeni Fatemeh biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

BOWLES Peter biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

BRITTON Helen biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

CAMERON Melissa biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

CAR Eric biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

CAR Rosie biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

CHONGWE Njalikwa Ian biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

COSTARELLA Aurelio biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

CROWE Greg biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

DAWSON Jenny biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

DONLEY Toni biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

DOROPOULIS Moidorop biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

ELSON Sarah biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

GORDON Kevin biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

GRACE Holly biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

HAY Graham biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

HAY David biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

HALLé Blandine biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

HINES Patricia biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

HOWETT Mark biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

HUNT David biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

JOHNSON John biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

KALAF Katherine biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

KELLENBACH Ingrid biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

KOVACSY Peter biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

LEES Robyn biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

LEIB Marc biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

LINTON Bethamy biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

LITTLE Trish biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

MACRAE Ian biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

MALCOLM Robyn biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

MILLS-GRANT Naomi biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

OLDHAM Tish biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

PALMATEER Warrick biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

RAINER Gillian biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

ROBERTSON Jennifer biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

Sauvage Marc biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

SCHELL Fleur biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

SCHWABE Alison biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

SEARLES Nalda biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

SHAMSHI Sultana biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

SHARP Jo biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

SMITH Jill biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

STORY Holly biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

TOWNSEND Claire biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

VINTILA Alex biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

WEEDON-JONES Kate biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

WOODLAND David biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

YATES Jill biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

YIAP Alister biographical information
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Reference: see Inspired by Light and Land: Designers and makers in Western Australia 1970-2020, by Dorothy Erickson. [This publication in preparation in 2020. Information provided by the author].

Publishing details: WA Museum Press, 2021 (?) [publication details to be included upon publication]

Galloway Simonview full entry

Reference: see Glover Prize press release, March 2021, announcing Galloway as winner of the prize: Congratulations to Sebastian Galloway!

After much deliberation from the judges, the Glover Prize 2021 has been awarded to Sebastian Galloway, for his work titled 'View of Mt. Lyell through an Acid Raindrop'.
Sebastian Galloway
View of Mt. Lyell through an Acid Raindrop
Oil on copper, Sassafras
85 x 95 cmFrom the artist:

Although the environment of Queenstown is slowly healing, its Mars-like landscapes are as striking as ever; a persisting testament to over a century of copper mining. As the trees on the hills were felled for building and fire wood, acid rain, caused by sulphur dioxide emitted by the copper smelting process, fell to earth and further transformed the landscape. The barren hills of exposed rock remain as stark evidence of an environmental catastrophe, yet they bear a strange and otherworldly beauty and are captivating for many.

Sebastian Galloway is a Tasmanian oil painter producing work from his home studio in Fern Tree, a beautiful area of forest nestled into the foothills of Hobart's kunanyi/Mt Wellington.
Sebastian's work presents a highly rendered image with a strong emphasis on detail and realism. Subject matter is often inspired by his love for the Tasmanian environment and its inhabitants, as well as the people and creatures that surround him.

Sebastian graduated from the University of Tasmania, School of Creative Arts in 2014 and has since completed four solo exhibitions, participated in numerous group exhibitions and been featured as a finalist in several national art prizes.

Green Elaine view full entry

Reference: see Glover Prize press release, March 2021, announcing prize runner up:
Elaine Green
April
Oil on masonite
51 x 78 cmFrom the artist:

The thirty scenes depicted in this work reflect the thirty days in April 2020 of lockdown in Stanley Tasmania. The world had changed, helicopters flew over-head and roadblocks were erected to prevent us travelling far. No tourists came for the Easter break, the shops were all shut, the chairlift sat silent and the penguins were not visited.
But the wind still blew, the rain still fell, the sun rose and set, the tide came in and out and the magnificence that is Stanley comforted my soul.

Cordero Jason view full entry

Reference: see Glover Prize press release, March 2021, announcing Hanger's Choice; Highly Commended: Jason Cordero
The Expedition of the Artificer
Oil on linen
85 x 95 cmEach year, the Hanger's Choice is selected by the gallery hangers, whose effort ensures the exhibition brings out the best of each finalist artwork.

Congratulations to Jason Cordero for winning the Glover Prize 2021 Hanger's Choice Award, along with being Highly Commended by this year's judges.

The Hanger's Choice Award is proudly sponsored by at+m marketing.

From the artist:
We are individuals of artifice and change. Expeditions from our built environments to the wild trace filaments from which tendrils leading to the alteration of the explored inevitably extend. Here I have recalled Tasmanian places I have visited which are seemingly wild but bear the mark of our activity; that I could be in those places is, in itself, a mark of such change. With a shift in perspective, that which is introduced is filtered and becomes normalised. The intrusions, while not necessarily having their origin forgotten, become a part of the wild, establishing a cycle as the Artificer’s expeditions continue into and extend from those which came before.

Wilson Edwinview full entry

Reference: article in Sydney Morning Herald, Spectrum, March 6-7, 2021, p6, by John McDonald ‘Musings of a curious mind’.
Publishing details: Sydney Morning Herald, Spectrum, March 6-7, 2021.
Ref: 136

Wilson Edwinview full entry

Reference: Poetry of place : Royal Botanic Gardens, Sydney by Edwin Wilson"Revised edition of The Wishing Tree published in 1992 by Kangaroo Press Pty Ltd, Kenthurst, NSW"--Front cover flap.
Includes a section on Centennial Park, which "was under the administration of the Botanic Gardens from 1888 until 1980"--p. 171.
"In the Poetry of Place, Edwin Wilson, who is a poet and botanist with an interest in history, explores the memorials, buildings, roads, gates, holes in the ground, and special plantings that litter one of the world's most spectacularly sites botanic gardens."--Front cover flap.
Includes: Footnotes (p. 179-194) and index.
Publishing details: [Sydney NSW] : Botanic Gardens Trust, c2004
208 p. : ill. (some col.), maps (some col.)
Ref: 1000

Wilson Edwinview full entry

Reference: Wild tamarind / Edwin Wilson

Publishing details: Lane Cove, N.S.W. : Woodbine Press, 1987
167 p. Clothbound edition limited to 125 copies.
Ref: 1000

Wilson Edwinview full entry

Reference: Cedar House by Edwin Wilson, 1942-

Publishing details: Lane Cove, N.S.W. : Woodbine Press , 2001
Ref: 1000

Wilson Edwinview full entry

Reference: Stardust painter-poet II Edwin Wilson : paintings and poems / with an introduction by Robin Norling. Includes bibliographical references and Index and Notes to Artworks.
Publishing details: Crows Nest, NSW : Woodbine Press, 2020, xvi, 280 pages : illustrations (chiefly colour), portraits
Ref: 1000

Wilson Edwinview full entry

Reference: The Mullumbimby kid : a portrait of the poet as a child / Edwin Wilson
Publishing details: Lane Cove, N.S.W. : Woodbine Press, 2012, 2nd ed. ,288 p. : ill., maps, ports.
Ref: 1000

Wilson Edwinview full entry

Reference: The melancholy Dane (a portrait of the poet as a young man) / Edwin Wilson
by Wilson, Edwin, 1942-
Publishing details: Lane Cove, N.S.W. : Woodbine Press, 2006
Ref: 1000

Wilson Edwinview full entry

Reference: Long-distance poet : (a portrait of the poet as an old fart) / Edwin Wilson
by Wilson, Edwin, 1942-

Publishing details: Crows Nest, NSW : Woodbine Press, 2019
Ref: 1000

Wilson Edwinview full entry

Reference: Family tree : old friends, rich relations (an idiosyncratic family history of Edwin James (Peter) Wilson, poet, painter and botanist from East Wardell/Mullumbimby/Crows Nest) /...
by Wilson, Edwin, 1942-
Publishing details:
Lane Cove, NSW : Woodbine Press, 2020
Ref: 1000

Wilson Edwinview full entry

Reference: New collected poems : 1952-2012 / Edwin Wilson ; with pencil drawings by Elizabeth McAlpine ; and an introduction and epilogue by J.S. Ryan
by Wilson, Edwin, 1942-

Publishing details: Armidale, N.S.W. : Kardoorair Press, c2012
Ref: 1000

Ryam J Sview full entry

Reference: see New collected poems : 1952-2012 / Edwin Wilson ; with pencil drawings by Elizabeth McAlpine ; and an introduction and epilogue by J.S. Ryan
by Wilson, Edwin, 1942-

Publishing details: Armidale, N.S.W. : Kardoorair Press, c2012

Norling Robinview full entry

Reference: see Stardust painter-poet II Edwin Wilson : paintings and poems / with an introduction by Robin Norling. Includes bibliographical references and Index and Notes to Artworks.
Publishing details: Crows Nest, NSW : Woodbine Press, 2020, xvi, 280 pages : illustrations (chiefly colour), portraits

Wilson Edwinview full entry

Reference: Mullumbimby dreaming : Mullumbimby paintings and poems / by Edwin Wilson -the Mullumbimby kid with an introduction by Robin Norling and additional pencil drawings by the late...
by Wilson, Edwin, 1942-
Publishing details:
Lane Cove, NSW : Woodbine Press, 2014 ,
Ref: 1000

Norling Robinview full entry

Reference: see Mullumbimby dreaming : Mullumbimby paintings and poems / by Edwin Wilson -the Mullumbimby kid with an introduction by Robin Norling and additional pencil drawings by the late...
by Wilson, Edwin, 1942-
Publishing details:
Lane Cove, NSW : Woodbine Press, 2014 ,

Wilson Edwinview full entry

Reference: The botanic verses and other poems / Edwin Wilson ; with pencil drawings by Elizabeth McAlpine
by Wilson, Edwin, 1942-
Publishing details: Sydney : Rainforest Publishing, c1993
Ref: 1000

McAlpine Elizabeth view full entry

Reference: see The botanic verses and other poems / Edwin Wilson ; with pencil drawings by Elizabeth McAlpine

Publishing details: Sydney : Rainforest Publishing, c1993

Wilson Edwinview full entry

Reference: The dragon tree : a selection of poems / by Edwin Wilson ; with pencil drawings by Elizabeth McAlpine
by Wilson, Edwin, 1942-

Publishing details: Lane Cove, N.S.W. : Woodbine Press, c1985
Ref: 1000

McAlpine Elizabeth view full entry

Reference: see The dragon tree : a selection of poems / by Edwin Wilson ; with pencil drawings by Elizabeth McAlpine
by Wilson, Edwin, 1942-

Publishing details: Lane Cove, N.S.W. : Woodbine Press, c1985

Wilson Edwin - various booksview full entry

Reference: The rose garden : a selection of poems / by Edwin Wilson ; with pencil drawings by Elizabeth McAlpine
by Wilson, Edwin, 1942-
Lane Cove, N.S.W. : Woodbine Press, 1991
Book

Songs of the forest : rainforest poems / by Edwin Wilson ; with pencil drawings by Elizabeth McAlpine
by Wilson, Edwin, 1942-
Sydney : Hale & Iremonger, 1990

Chaos theory / poem by Edwin Wilson with pencil drawings by Elizabeth McAlpine
by Wilson, Edwin, 1942-
Lane Cove, N.S.W. : Woodbine Press, 1997
Book

Cosmos seven : selected poems 1967-1997 / Edwin Wilson ; with pencil drawings by Elizabeth McAlpine
by Wilson, Edwin, 1942-
Lane Cove, N.S.W. : Woodbine Press, 1998

Synthesis : a selection of poems / Edwin Wilson ; with pencil drawings by Elizabeth McAlpine ; and an introduction by John Ryan
by Wilson, Edwin, 1942-
Crows Nest NSW : Woodbine Press, 2018 , ©2018
Book [text, still image, volume]

The wishing tree : a guide to memorial trees, statues, fountains, etc. in the Royal Botanic Gardens, Domain, and Centennial Park, Sydney / Edwin Wilson
by Wilson, Edwin, 1942-
Kenthurst, N.S.W. : Kangaroo Press in association with the Royal Botanic Gardens, Sydney, 1992

Falling up into verse (a poetic treatise or handbook (survival manual) for live poets, aspiring poets, and students of poetry, down under) / by Edwin Wilson
by Wilson, Edwin, 1942-
Lane Cove, N.S.W. : Woodbine Press, 1989

Oliver Bainbridge Lord Nelson's great grandson? : the incredible story of Francis (Frank) Nelson (aka 'Oliver Bainbridge') : an unacknowledged casualty of the...
by Wilson, Edwin, 1942-
Lane Cove, N.S.W. : Woodbine Press, 2013 , © 2013
Book [text, still image, volume]

[Biographical cuttings on Edwin Wilson, poet, containing one or more cuttings from newspapers or journals]

Lord Nelson, Uncle Oliver and I : the life and death of Oliver Bainbridge : the incredible story of Francis (Frank) Nelson (aka 'Oliver Bainbridge'): an unacknowledged...
by Wilson, Edwin, 1942-
Crows Nest, NSW : Woodbine Press, 2017 , ©2017

Wilson Edwinview full entry

Reference: Anthology collected poems of Edwin Wilson 1967-2002 with pencil drawings by Elizabeth McAlpine and an introduction by J. S. Ryan
by Wilson, Edwin, 1942-
Publishing details:
Armidale, N.S.W. : Kardoorair Press, 2002
Ref: 1000

McAlpine Elizabeth view full entry

Reference: see Anthology collected poems of Edwin Wilson 1967-2002 with pencil drawings by Elizabeth McAlpine and an introduction by J. S. Ryan
by Wilson, Edwin, 1942-
Publishing details:
Armidale, N.S.W. : Kardoorair Press, 2002

Wilson Edwinview full entry

Reference: Asteroid belt : poems / by Edwin Wilson
by Wilson, Edwin, 1942-

Publishing details: Lane Cove, N.S.W. : Woodbine Press, 2002
Book
Ref: 1000

Wilson Edwinview full entry

Reference: My brother Jim / poems by Edwin Wilson
by Wilson, Edwin, 1942-

Publishing details: Lane Cove, N.S.W. : Woodbine Press, 2009
Ref: 1000

Frayne Alexview full entry

Reference: Adelaide noir by Frayne, Alex

Publishing details: Miles End, South Australia : Wakefield Press, 2014
Ref: 1000

Frayne Alexview full entry

Reference: Landscapes of South Australia by Alex Frayne [’Photographic artist Alex Frayne has travelled the length and breadth of South Australia to bring us this wondrous book of images from his big and beautiful, timeless and daunting back yard.

Illuminating the view throughout is the celebrated light that falls on the state's hills and plains, its deserts and waters.

South Australia's landscapes are extraordinary and enriching. Alex Frayne pays them marvellous homage in this triumphant and emotional photographic essay. Here is the work of a master of his art.

About the Photographer

Alex Frayne is a celebrated South Australian artist whose chosen form is photography. With a pedigree in filmmaking, he shoots predominantly analogue formats including 6 x 6 cm, 6 x 9 cm and 35 mm. Landscapes of South Australia is Alex Frayne's third book published by Wakefield Press, following Adelaide Noir and Theatre of Life.’]
Publishing details: Wakefield Press, 2020, 216pp
Ref: 1000

Dicker Charles William Hamilton Rev (1855-1912) view full entry

Reference: see Parker Fine Art, Surrey, Royaume-Uni, 18.3.21, lot 206: The Rev Charles William Hamilton Dicker (1855-1912) British. “S. W. Coast of Tasmania”, Photograph, Inscribed on the Mount, Unframed, 6.5” x 8.5” (16.5 x 21.6cm) with an interesting collection of other Photographs and Watercolours. Notes: A year after being ordained by the Bishop of Lichfield in 1881 he was selected for a Canonry in Hobart, Tasmania. He married a Tasmanian lady who died shortly after childbirth. He left Tasmania with his young son in 1897. He moved to Dorset and published a paper with his own drawings ‘The Naturalist in Australia’. He died aged fifty six from a motorcycle crash.

Strizic Markview full entry

Reference: see renberg Auctions
Bruxelles, Belgique, 26.3.21, lot 668: STRIZIC, Mark Set of 4 "Contre Jour" photos. 1956-1963 4 original photographs, gelatin silver prints, b/w, 42,2 x 30 cm, signed and captioned on mount. 1. Town Hall Flower Stand-I, 1956. - 2 "Paris End" of Collins Street, Aug. 1958. - 3. 1958 Arcade-I Block. - 4 The Rialto Block in Collins Street, 1963. Mark Strizic (1928-2012) was a Croatian-Australian photographer and artist best known for his architectural and industrial photography. But he also was a portraitist of significant Australians and a fine art photographer. Added: exhibition folder and invitation "Mark Strizic Contre Jour", Lauraine Diggins Fine Art. Acquired by present owner from the artist during the exhibition "Contre Jour" from 24 February until 27 March 1999 at Lauraine Diggins Fine Art, Melbourne].

Officer Mabelview full entry

Reference: see Parker Fine Art, Surrey, Royaume-Uni, 18.3.21, lot 208
Miss Mabel Officer (20th Century). “On The Derwent, Tasmania” Oil on Canvas Artist’s Board, Signed and Dated 1938, and Inscribed on labels on the reverse, 11.25” x 16.25” (28.5 x 41.3cm). Exhibited: Royal Academy Exhibition, 1939. Provenance: Victor Bonney, Harley Street.

Fitzjames Michaelview full entry

Reference: ‘A Feast of Fitzjames’, article by Terry Smith in The National Times, March 22-28, 1981 p48
Publishing details: National Times, March 22-28, 1981 p48 [located in Scheding Library inside Belle, Nov- Dec, 1983, No. 60.]

Streeton listed as Sretton Mr A (sic, view full entry

Reference: see Von Guerard to Wheeler - The First Teachers at the National Gallery School 1870 - 1939, published by Victorian College of the Arts Gallery, 1978, pb [publication lists teachers, students and prize winners]

Barthel Alex glass artistview full entry

Reference: see Cross, Judie (2018). “Conversation with Alex Barthel,” FigureGround.org, October 2018.
https://figureground.org/conversation-with-alex-barthel

Rosenmeyer Kathy view full entry

Reference: see Sculpture on the farm website: Graduate Sydney University in Medicine and Surgery in 1970 and while still practicing medicine decided to pursue an interest in sculpture from 1984 with courses at Workshop Art Centre Willoughby. Also studied with various teachers including Marguerite Derricourt,Tom Bass and David Horton.
Joined Studio Sculptors Group in 2001 and exhibited in Bondi Pavilion, Sculpture in the Vineyards, Harbour Sculpture and Willoughby Incinerator.
Publishing details: sculptureonthefarm.com

Sculpture on the farmview full entry

Reference: Sculpture on the Farm held exhibitions in both 2018 and 2019. ‘We look forward to welcoming you to Dungog in 2021 for our expanded exhibition including indoor works in Dungog galleries and outdoor works on the farm at “Fosterton” and hope that you will take with you an enduring and increased appreciation of the importance of sculpture in the public domain. More than 150 sculptors have exhibited their works at “Sculpture on the Farm” over the first two exhibitions. Sculpture on the Farm has certainly become a highlight of the October long weekend in Dungog. Paddocks, gardens and galleries radiated the enthusiasm of
Our October 2021 exhibition has been extended to 10 days and with Sculpture Lunches and Dinners and Films to add value to the experience for sculpture lovers and visitors to the Dungog region alike, it’s a regional experience not to be missed.
Philippa Graham
Chair | Sculpture on the Farm Inc
“Fosterton” | 824 Fosterton Road, Dungog, NSW 2420’
website lists 77 artists with biographies:
Amanda Harrison
Annie Herron
Bill Cummins
Bob Teasdale
Braddon Snape
Brendon Tohill
Bridget Whitehead
Carolyn Rendle
Catie Sully
Charlotte Bakker
Chris Fussell
David Perkins
David Stott
Denise Lithgow
Edward Milan
Edward Ramsay
Emilia Krumm
Eric Werkhoven
Eva Kellermann
Felicity Cavanough
Feyona Van Stom
Gary Boote
Gavin Vitullo
Gerdi Schumacher
Greg Salter
Hugh McLachlan
Ian Scott
Inge King
Ionas Kaltenbach
James Bunter
Jan Shaw
Jane Dawson
Jane Ritchens
Jeanette Hyde
Jeff Hyde
Jenny Green
Jenny Linz
Jimmy Rix
Jody Pawley
Kassandra Bossell
Kathy Rosenmeyer
Kay Sheeley
Keith Chidzey
Kim Elliott
Laurent Rivory
Lee Blattmann
Leeroy Chapman
Liz Hughes
Lynden Jacobi
Martin Bass
Megan McCarthy
Meike Davis
Meredith Woolnough
Michael Garth
Natalie Duncan
Nathan Keogh
Nicole O'Regan
Nigel Dobson
Patricia Van Lubeck
Paul Brent
Peter Lewis
Peter Read
Peter Simmons
Peter Tilley
Philippa Graham
Rebecca Pierce
Ren Thackham
Rhonda Castle
Robyn Werkhoven
Rod Buckland
Roger Head
Rosemary Reynolds
Roz Stampfli
Rudi Jass
Sallie Portnoy
Sam Anderson
Sandra Jones
Shannon Stone
Sharon Taylor
Sinan Revell
Stephen Hogan
Susan Dorothea White
Tobias Bennett
Vera Robinson
Vivienne Lowe
Vlase Nikoleski
Will Maguire
Will Phipps
Publishing details: sculptureonthefarm.com

Sculptors Society Theview full entry

Reference: The Sculptors Society, established 1951, based in Sydney, NSW.
List of sculptors from the Society’s website, 2020:
ALAJAJIAN, Helen
ANDRUS-BLASKIEVICS, Veronica
APLIN, Sally
BALINT, John
BENNETT, June
BLATTMANN, Lee
BOER, Kerry Anne
BROWN, Joan
BUCKLEY, Elly
CARROLL, Irene
CASIS, Genie
CASTILLO ALFEREZ, Katherine
CHIDZEY, Keith
COVERDALE-FRONSNOVA, Judy
COWELL, Chris
CRAIG, Leasha
CRAWFORD, Beth
CUNLIFF, Mason
DAVIS, Errol B. OAM, B.E. 1926 – 2009
DAVIS, Meike
DAWSON, Jane
DREWITTSMITH, Pamela
ELLIOTT, Kim C.
FORSTER GOMME, Babette
GARDINER, Dr James
GARNER, Mr
GRAHAM, Philippa
GREEN, Jenny
HARRISON, Amanda
HE, Longmao
HO, Argo
HOLIK-BLAZLEY, Vikki
HOWARD-SHAW, Jan
HSUN HSIANG, Pin
ILOSVAY, Gusztav
KALOUS, Dennis
KAPLAN, Lola
KETT, Gregg
KRSTANOSKI-BLAZESKI, Blaze
KUCZYNSKI, Alan
LARKIN, Anita
LEETE, Helen
LEWIS, Peter
LILLYWHITE, Helena
LOWE, Vivienne
LYNE, Sheila
MATOSSIAN, Vrej
MORAN, John
MORRELL, Angela
MOURAD, Tom
NEESON, Robert William
PIGGOTT, Belinda
PLOWRIGHT, Terrance
PORTNOY, Sallie
RADCLIFFE, Graham
RAMADAN, Feisal
RENDLE, Carolyn
REYNOLDS, Robin
RUICENS, Aris
RUMPF, Robin
SELHOFER, Yvonne
SHAW, Jan
SHERIDAN, Margaret
SIM, David
SIMPSON, Christine
SMAGARINSKY, Larissa
SMITH, Natalia
SOLOMON, David
SOMERVILLE, Alan
STAMPFLI, Roz
STEWART, Doris
STUART, Todd
VAN STOM, Feyona
VAN STOM, Willem
VAYNMAN, Michael
WATKINS, Gunnel
WESTCOTT, Margaret
WHITEHEAD, Bridget
WOODWARD, Robert – AM 1923 – 2010
ZYLBERBERG, Sally

St John Ellisview full entry

Reference: see NGA website, Australian Prints and Printmaking:
Ellis St John
Australian
BIRTH DATE 1874
BIRTH PLACE Simla, India
DEATH DATE 1949
DEATH PLACE Sydney, New South Wales,
MOVEMENTS: Aotearoa New Zealand ?, Australia by 1910
Printmaker
Worked: Australia (NSW). Etchings

St John Ellisview full entry

Reference: exhibited Auckland Society of Arts and New Zealand Academy of Fine Arts, c1922

Women artistsview full entry

Reference: see International Women's Day exhibition,
Monday 8th March #ChooseToChallenge -
A challenged world is an alert world. Individually, we're all responsible for our own thoughts and actions - all day, every day. We can all choose to challenge and call out gender bias and inequality. We can all choose to seek out and celebrate women's achievements. Collectively, we can all help create an inclusive world.
From challenge comes change, so let's all choose to challenge. We are proud to work with 16 female artists:
EMMA MAGENTA
JENNY KEE
LYNDA HYDE
OLIVIA SHIMELD
DEBORAH KELLY
JENNIFER GABBAY
MIE NAKAZAWA
INGRID MORLEY
RACHEL HANNAN
JANE STAPLEFORD
ADRIANA SESERKO
CLAIRE NAKAZAWA
ELOISE MAREE
JULIE HOLCOMBE
GABRIELLE JONES
JANE CANFIELD

Publishing details: Day Gallery
27-29 Govetts Leap Rd | Blackheath | NSW., March, 2021

Fullwood Albert Henryview full entry

Reference: Picturing a Nation - The art and life of A.H. Fullwood, by Gary Werskey. [’The untold story of a major Australian artist. Regarded in his day as an important Australian impressionist painter, A.H. Fullwood (1863–1930) was also the most widely viewed British–Australian artist of the Heidelberg era. Fullwood's illustrations for the popular Picturesque Atlas of Australasia and the Bulletin, as well as leading Australian and English newspapers, helped shape how settler–colonial Australia was seen both here and around the world. Meanwhile his paintings were as celebrated as those of his good friends Tom Roberts and Arthur Streeton. So why is Fullwood so little known today? In this pioneering, richly illustrated biography, Gary Werskey brings Fullwood and his extraordinary career as an illustrator, painter, and war artist back to life, while casting a new light on the most fabled era in the history of Australian art.’]
Publishing details: NewSouth Publishing, 2020, hc, 352pp, coppy signed by the author.

Crothall Rossview full entry

Reference: see Picturing Space - Theo Schoon, Ross Crothall and Visual Art in the Pacific, by Anthea Gunn
Publishing details: Double Dialogues, Issue 7, Winter 2007, ON SPACE

Crothall Rossview full entry

Reference: see Here in Byzantium: Ross Crothall's trans-Tasman career, by Anthea Gunn
Publishing details: Australian and New Zealand Journal of Art, January 2012

Cook Michaelview full entry

Reference: Through My Eyes. Catalogue for Michael Cook’s first solo show, being portraits of Australian Prime Ministers as Indigenous people
Publishing details: Brisbane: Andrew Baker Art Dealer, 2010.

Ref: 1000

Holmes Stacey view full entry

Reference: see Bookmerchant Jenkins catalogue, March 2021: MAKE A WISH by Stacey Holmes
Australia: Stacey Holmes, 2012. Signed by Illustrator, 28.5cm x 34.5cm (frame size), 24cm x 30cm (artwork size). Framed oil and egg tempura on board.
Stacey Holmes is an Australian artist currently living and working in the expansive landscapes of rural NSW Australia where she was raised.

architectureview full entry

Reference: THINKING ARCHITECTURE: THEORY IN THE WORK OF AUSTRALIAN ARCHITECTS, by Andrew Metcalf

Publishing details: Canberra: The Royal Australian Institute of Architects, 1995.
First Edition.
29.5cm x 21cm. 105 pages, black and white photographs and illustrations. Pictorial french fold wrappers.
Ref: 1000

architectureview full entry

Reference: BRISBANE HOUSE STYLES, 1880 TO 1940: A GUIDE TO THE AFFORDABLE HOUSE by Judy Gale Rechner
A detailed guide to the architectural features of pre-WWII Brisbane house types affordable to the majority of Queenslanders.
Publishing details: Brisbane: Brisbane History Group, 1998.
First Edition.
29cm x 21cm. 72 pages, black and white photographs and illustrations. Illustrated wrappres.
Brisbane History Group Studies, No. 2.
Ref: 1000

glassview full entry

Reference: GLASS: ART DESIGN ARCHITECTURE,
Margaret Hancock Davis; Brian Parkes

Publishing details: Adelaide: JamFactory, 2015.
First Edition.
15cm x 22cm. 248 pages, colour photographs and illustrations. Illustrated wrappers.
Ref: 1000

Eather Michaelview full entry

Reference: MICHAEL EATHER AND FRIENDS: SKIN & DIVISION
Michael Eather; Margo Neale; Rex Butler
Catalogue for a group show of Aboriginal art at Queensland Art Gallery. Card print of Two worlds, laid in.
Publishing details: Brisbane: Queensland Art Gallery, 1997. First Edition.
30cm x 21cm. [6] pages, tri-fold, 1 print.
Ref: 1000

Neale Margoview full entry

Reference: see MICHAEL EATHER AND FRIENDS: SKIN & DIVISION
Michael Eather; Margo Neale; Rex Butler
Catalogue for a group show of Aboriginal art at Queensland Art Gallery. Card print of Two worlds, laid in.
Publishing details: Brisbane: Queensland Art Gallery, 1997. First Edition.
30cm x 21cm. [6] pages, tri-fold, 1 print.

Butler Rexview full entry

Reference: see MICHAEL EATHER AND FRIENDS: SKIN & DIVISION
Michael Eather; Margo Neale; Rex Butler
Catalogue for a group show of Aboriginal art at Queensland Art Gallery. Card print of Two worlds, laid in.
Publishing details: Brisbane: Queensland Art Gallery, 1997. First Edition.
30cm x 21cm. [6] pages, tri-fold, 1 print.

Baguview full entry

Reference: 3 volume catalogue set of Australia: Defending the Oceans: At the Heart of Aboriginal and Torres Strait Islands Art, published for the exhibition TABA NABA: Australia, Oceania, Arts of of the Sea People in collaboration with Girringun Aboriginal Art Centre, Oceanographic Museum of Monaco, 2016. One of the largest European exhibitions of Australian Indigenous art. Curated by Stephane Jacob with text by Jane Raffan.
Publishing details: BAGU: MATTER AND SPIRIT IN RAINFOREST COUNTRY
Stephane Jacob; Jane Raffan
Paris: Editions Arts d'Australie, 2016.
First Edition.
26cm x 21cm. 3 volumes, colour illustrations and photographs. Pictorial wrappers in lettered slipcase. Text is bilingual in English and French.
Ref: 1000

Aboriginal artview full entry

Reference: see 3 volume catalogue set of Australia: Defending the Oceans: At the Heart of Aboriginal and Torres Strait Islands Art, published for the exhibition TABA NABA: Australia, Oceania, Arts of of the Sea People in collaboration with Girringun Aboriginal Art Centre, Oceanographic Museum of Monaco, 2016. One of the largest European exhibitions of Australian Indigenous art. Curated by Stephane Jacob with text by Jane Raffan.
Publishing details: BAGU: MATTER AND SPIRIT IN RAINFOREST COUNTRY
Stephane Jacob; Jane Raffan
Paris: Editions Arts d'Australie, 2016.
First Edition.
26cm x 21cm. 3 volumes, colour illustrations and photographs. Pictorial wrappers in lettered slipcase. Text is bilingual in English and French.

Buziak Renata view full entry

Reference: HABITAT: ARTWORKS AND STORIES OF PINE RIVERS GARDENS
Renata Buziak; Lynette Letic
Catalogue of biochrome artworks by Renata Buziak accompanied by photographs by Lynette Letic of gardeners, their gardens, and short texts by them, in the Greater Brisbane Region.
Publishing details:
Brisbane: Rough Paper Press, 2015.
First Edition.
21cm x 26cm. 32 pages, colour illustrations and photographs. Illustrated saddle-stapled wrappers.
Ref: 1000

Letic Lynette view full entry

Reference: see HABITAT: ARTWORKS AND STORIES OF PINE RIVERS GARDENS
Renata Buziak; Lynette Letic
Catalogue of biochrome artworks by Renata Buziak accompanied by photographs by Lynette Letic of gardeners, their gardens, and short texts by them, in the Greater Brisbane Region.
Publishing details:
Brisbane: Rough Paper Press, 2015.
First Edition.
21cm x 26cm. 32 pages, colour illustrations and photographs. Illustrated saddle-stapled wrappers.

Cook Michaelview full entry

Reference: HEAR NO... SEE NO... SPEAK NO...
Michael Cook
Exhibition catalogue from Cook's 2013 exhibition hosted by the Queensland Centre for Photography at The Depot Gallery, Sydney. Presents work from four of Cook's series: Through My Eyes, Broken Dreams, Undiscovered, and Civilised.
Publishing details:
Brisbane and Sydney: Queensland Centre for Photography / The Depot Gallery, 2013.
First Edition.
21cm x 21cm. [8] pages, colour photographs. Pictorial saddle-stapled wrappers.
Ref: 1000

Carey Annaview full entry

Reference: STARDUST by Anna Carey
Models of retro 'Stardust' motels from around the world.
Publishing details: Brisbane: Andrew Baker Art Dealer, 2015.
First Edition.
21cm x 21cm. 16 pages, colour photographs. Illustrated saddle-stapled wrappers.
Ref: 1000

Carey Annaview full entry

Reference: PRELUDES
Anna Carey
Models of vacant interiors.
Publishing details: Brisbane: Andrew Baker Art Dealer, 2014.
First Edition.
21cm x 21cm. 28 pages, colour photographs. Illustrated saddle-stapled wrappers.
Ref: 1000

Carey Annaview full entry

Reference: IN SEARCH OF RAINBOWS
Anna Carey
Models of vacant interiors.
Publishing details: Brisbane: Andrew Baker Art Dealer, 2017.
First Edition.
21cm x 21cm. [6] pages, colour photographs. Illustrated trifold.
Ref: 1000

Austin Lincoln
view full entry

Reference: SOMETIMES I LIKE TO PRETEND I'M A ROBOT
Lincoln Austin
Catalogue for a 2017 exhibition of sculptures, prints, and thread work.
Publishing details:
Brisbane: Andrew Baker Art Dealer, 2017.
First Edition.
21cm x 21cm. [20] pages, colour illustrations. Illustrated saddle-stapled wrappers.
Ref: 1000

Aboriginal artview full entry

Reference: OVER THE FENCE: CONTEMPORARY INDIGENOUS PHOTOGRAPHY FROM THE CORRIGAN COLLECTION by
Gordon Craig
Publishing details:
Brisbane: The University of Queensland Art Museum, 2016.
First Edition.
26cm x 19.5cm. 96 pages, colour photographs. Pictorial french fold wrappers
Ref: 1000

Andrew Baker Gallery, Brisbane, artistsview full entry

Reference: Lincoln Austin
X
Leonard Brown
Sam Bullock
Anna Carey
Tony Coleing
Michael Cook
Karla Dickens
Marian Drew
Ruki Famé
Fiona Foley

Ian Friend
Simon Gende
Stephen Hart
Donna Marcus
Pamela See (Xue Mei-Ling)
Teo Treloar
Michel Tuffery
Kenji Uranishi
Katarina Vesterberg
Deborah Walker
William Yang
Publishing details: http://www.andrew-baker.com/artists.html

Heideview full entry

Reference: Sunday's Kitchen - Food and living at Heide.
Forward by Stephanie Alexander, Index, Recipe Indes, Acknowledgements. Notes, Image Credits & Permissions, Bibiography, Preface by Jason Smith, Author's Note, A Personal Paradeisos, Routines & Rituals, Avo Tea, French Flu, Diet Does It, Kitchen Garden, Indulgences, An Inspired Model, Eating Out, Holidays, Afterward Barbara Blackman, Timeline, Dramatis Personae, Cooking, Food, 21st Century. [to be indexed]
‘Sunday's Kitchen explores life behind the scenes at Heide, the celebrated haven for progressive modernist artists and writers. Heide was the home and personal Eden of John and Sunday Reed, two of Australia's most significant art benefactors. Settling on the fifteen-acre property in outer Melbourne in 1935, the Reeds transformed it from a run-down dairy farm into a fertile creative space. They extended their hospitality and resources to w-famous artists such as Sidney Nolan, Albert Tucker, Joy Hester and Charles Blackman, and developed a culture of collaboration, eclecticism and idealism that changed the course of Australian art. At the centre of activity was Sunday Reed, a passionate cook and gardener, who ensured the artists she championed received sustenance for the body, t just the mind. Drawing on her experiences in the south of France, her emphasis was on home-grown produce, seasonal cooking and a self-styled domestic aesthetic that became an inspirational model. Based on the reminiscences of friends and intimates, Sunday's Kitchen introduces the history of food and eating that went hand-in-hand with the living and loving at Heide. It is richly illustrated with art, photographs and recipes from Sunday's personal collection, revealing ather dimension of Heide's complex and compelling story.’ [’ Lesley Harding is a curator at the Heide Museum of Modern Art. She is the former senior curator at the Victorian Arts Center Trust, inaugural curator at the National Art School in Sydney, and the coauthor of Cubism & Australian Art. Kendrah Morgan is a curator at the Heide Museum of Modern Art. She is the former assistant curator of New Zealand and international art at the Auckland Art Gallery and a lecturer in art history at the University of Auckland. Stephanie Alexander is the author of The Cook's Companion, Stephanie's Menu for Food Lovers, and Stephanie's Seasons.’]
Publishing details: Melbourne University Publishing, The Miegunyah Press, 2010, 220 Page Hard Cover
Ref: 1000

Neumann Kristina view full entry

Reference: Pop Up Exhibition: Kristina Neumann. [’In Australia, millennials experience anxieties with respect to housing when leaving the family home. Kristina Neumann’s pieces engage with themes that respond to the experience of the ‘home’ for Australian millennials. The investigation is explored through the field of contemporary jewellery, an appropriate vehicle due to its qualities of emotiveness, portability and familiarity. This practice-led research establishes a visual language through experiments with materials and forms taken from her past and present homes.
Explorations of materiality, using soft and hard surfaces, provide a sense of internal and external spaces. Architectural references used as motifs, reminiscent of security and stability, elicit an emotional response from the viewer. Recognisable form and materiality strongly communicate themes of ‘home’. A talisman for her generation is created when her jewellery references architectural details, recognisable forms and materiality. The architectural and material aspects of the work can be interpreted directly or indirectly, allowing for subjective interpretations.
Kristina Neumann is an emerging artist & designer/maker from Canberra. Her work has been recognised through a number of awards and prizes, including the Talente 2020: International Craft Exhibition Prize, at the Handwerkskammer in Munich, Germany; the Toowoomba Regional Gallery Contemporary Wearables Emerging Artist Prize and the CAPO Robert Foster Memorial Award. She graduated from the ANU School of Art Jewellery & Object Workshop with first class honours in 2019.
This pop up will run from 19 Feb – 14 March, 2021.’]
Publishing details: Drill Hall Gallery, 2021 [Catalogue details to be included]
Ref: 1000

MELGAARD BJARNE (Australia b1967view full entry

Reference: see Setdart Auction House
March 16, 2021, 3:00 PM CET
Barcelona, Spain, lot 95: BJARNE MELGAARD (Australia, 1967). Untitled. Oil on canvas. Attached author's certificate. Measurements: 200 x 200 cm. Bjarne Melgaard grew up in Norway and studied at the Academy of Arts in Warsaw (1989-1990), the Statens Academy of Fine Arts Oslo (1990-1991), the Jan van Eyck Academy in Maastricht (1991-1992) and the Rijksakademie van beeldende kunsten in Amsterdam (1992-1993). His works include sculptures, photographs, drawings, digital art and paintings, installations, environments and textual expressions, which deal mainly with the psychic and physical abysses of man. Melgaard's painting style is characterized by high artistic-technical skill and precision. At the same time, some critics relate his works to children's drawings, while others refer to the results of psychoactive drug trips. Throughout his works, a common theme is death, pain, sadomasochism, self-harm and deadly fantasies. The images are inspired by graffiti, satanic symbolism, splatter films, clubhouse aesthetics; Due to his direct and abnormal approach to these issues, Melgaard was several times set up as barriers, so that his exhibition "Black Low: The punk movement was only hippies with short hair", 2002 in Herford was first banned and then approved only under conditions. On occasion Melgaard works with musicians. Current musician Roger Baptist, aka "Rummelsnuff" ("Rummelsnuff") made him the focus of his paintings and photographs, which can be seen in documenta 12, among others. He also collaborated with the drummer of the band Satyricon, Kjetil "Frost" Haraldstad, the band Thorns and the band Emperor. All except Roger Baptist come from the Black Metal scene. So designed z. For example, Melgaard covers the covers of some phonograms "Thorns" and "Emperor" ("Thorns / Emperor" split up and the album "Thorns"), the music "Thorns" was in the exhibition "Societé anonyme - Interface to God" "Interface to God" is also the title of a song of "Thorns". "Frost" made sculptures and photographs for Melgaard's exhibitions; "Frost's" live performances at several exhibitions deserve mention. So he had already burned and stabbed in a fictitious ritual murder, or burned parts of the exhibits on display. A sculpture by Melgaard entitled The Black Woman Chair plays an important role in Karine Tuil's novel The Time of Restless.
Dimensions
Measurements: 200 x 200 cm.

Schlubeck Arthur 1875-ca. 1945view full entry

Reference: see AUKTIONSHAUS SATOW, 20 Mar 2021 , lot 142:
Schlubeck, Arthur (1875-ca. 1945) "Der Ayers Rock im National Park in Australien", Öl/Lw., sign. u.l., 93x161 cm

Stride Barbaraview full entry

Reference: see MALLAMS LTD. - ABINGDON, 22 Mar 2021, lot 46912:21:04 pm: BARBARA STRIDE (1913-2000, AUSTRALIAN)
Mermaid, bronze, signed beneath and on a rectangular slate plinth, the sculpture 124cm long x 36cm high overall
Condition: Oxidisation to the surface of the sculpture and with some very minor marks and dents, overall in good condition

faces of Canberra view full entry

Reference: faces of Canberra by Barbara van der Linden. [’"The 'Faces of Canberra ' project is my contribution to the 2013 Canberra Centenary Celebrations. I am painting portraits of the people who make Canberra a unique and interesting place to live. The local Canberra community were also invited to nominate portrait subjects. Most portraits have had an unveiling event. Each event was organised not just to present the paintings but to celebrate each individual portrayed, as well as their life and the contribution they have made to the Canberra community, a sort of mini 'This is your Life'. For example Mal Meninga's portrait was unveiled at a Raiders game, Stasia Dabrowska's unveiling was sponsored by lifeline at the 'Women with Spirit' Awards. On 9 May 2013 all 30 portraits come together in an exhibition at M16 Artspace, 21 Blaxland Cres Griffith, ACT. The exhibition runs from the 9 to 26 May 2013. The exhibition has been funded by the Canberra Centenary Initiatives Fund. Tuggeranong Arts Centre, Lanyon is sponsoring a second showing of the 'Faces of Canberra' exhibition at the Lanyon Homestead from 3 to 29 July 2013. There is an accompanying 'Faces of Canberra' publication of the portraits and the portrait subjects stories as well as a documentary of the progress of the 3 year project."--www.barbart.com.au.
Contents
The project
Project subjects. Barbera van der Linden; Frank Arnold; Brett Bailey; Francesco Calabria; Mark Carmody; Stephen Collins; Stasia Dabrowska; Paul Daley; Annette Ellis; Laura Grande; Stephen Harrison; Tara James; Alan Jessop; Michael Le Grand; Jennifer Kemarre Martinello; Mal Meninga; Sandra Moffat; Nina O'Connell; Coralie Wood & Charles Oliver; Rafe Morris; Jon Stanhope; Sylvie Stern; Iain Stokes; Tim, the yowie man Gotta have friends. Jenny Richards; Juliet Martens; Wendy Atkins; Jo Hein’]
Publishing details: Canberra, Australian Capital Territory] [Barbara van der Linden], [2013]. 56pp

Ref: 1000

Elgee Park view full entry

Reference: Elgee Park - Sculpture in the Landscape - by Ken Scarlett; with photographs by Mark Chew. [To be indexed]
Publishing details: Macmillan Art Publishing, 2004
159 p. (some folded): col. ill
Ref: 1003

Spence Stuartview full entry

Reference: Yield - Photographs by Stuart Spence. ‘An overview of the last 14 years of Stu Spence's fine art photography, 'Yield' takes viewers on a journey through triumphs, confusion, love, loss and a lot more.
“The images in this book span a fifteen-year period, and cover a number of my exhibitions. For a man with a truly terrible memory, I find it astonishing that I can recall the events precisely – the time, the places and, more importantly, my feelings when I was taking each of these images. It’s a double-edged sword, though, because I love and hate so many of the images, often at the same time. It’s a little like family members who you can’t live without, but are OK seeing just once a year, say, on Christmas Day.” ‘]
[’Stuart Spence (b. 1960) born in Geelong, Victoria, established his career in Sydney during the 1980s and 1990s, as a magazine photographer specialising in celebrity portraiture. Since then, he has also practised fine-art photography, and has worked freelance for his own commercial company, Permanent Wave, since 1989. Spence has exhibited several art- photographic series including Salute (1992), Lost In Face (1994), and As Yet Unclear (2007). He has been selected as a finalist for many prominent Australian photography prizes including the Doug Moran Prize (2013), the Head On Prize (2013), the National Photographic Portrait Prize (2014), and the Olive Cotton Award (2015). In 2010 he received an Arts Council of Australia grant in the New and Emerging Works category for adapting his As Yet Unclear photographic series into a one-man theatre show.Through the Permanent Wave arm of his career, he has produced work for a multitude of media outlets including the Sydney Morning Herald, the New Scientist (UK), and Rolling Stone. Spence has also shot book covers for Allen and Unwin and Harper Collins publishers, and received an Australian Music Association award for his work on Noiseworks’ cover artwork for the album Love vs Money (1991).. from NPG website].
Publishing details: Stu Spence, 2020
Ref: 1000

Schwarzrock Harrietview full entry

Reference: see National Portrait Gallery exhibition, spaces between movement and stillness
Daily from Saturday 13 February 2021 until Sunday 1 August 2021. ‘The heart is often regarded as our emotional centre. Working with this form allows me to contemplate many aspects of being.’
Harriet Schwarzrock’s new work explores notions of emotional processes and their physical manifestations. ‘From the subtle yet essential electricity within our bodies, I am fascinated by this interplay between the invisible and the visible, between our extraordinary similarities and differences.’
In spaces between movement and stillness, the artist has embraced science and experimentation to create visual wonders: glass, inert gases, and electricity combine into an array of organic forms, producing a captivating field of colour and movement. ‘Sometimes they have a warm glow, much like an aurora contained in a bottle; in others there are lightning-like lines meandering around the form. Although the gases are invisible, when excited by electricity they reveal subtle effects and differences.’
The creation draws reflections on the role of the human heart as our central, exquisitely responsive ‘engine’. When we’re relaxed, the heart beats at a slow and steady rhythm; when excitement takes hold – for example, in the first throes of true love – the cadence might crank with the beat of a wilful, wild machine. Luminous alone, the myriad tones and permutations of spaces between movement and stillness also echo the boundless forms of love in our autumn-winter exhibition, Australian Love Stories.

Australian designers at homeview full entry

Reference: Australian designers at home, by Jenny Rose-Innes, Simon Griffiths (Photographer). [To be indexed]
[’Australian Designers at Home invites readers into the homes of 20 of the country's leading names in interior design. With unfettered access to their most private retreats, we see where the best of the industry express their true, unfiltered selves. Jenny Rose-Innes celebrates the designers who have inspired her, sharing their histories and houses, as well as professional insights and practical tips on decorating. This book provides an invaluable resource for designers, decorators and interiors enthusiasts alike.

Richly illustrated throughout with stunning colour photography by Simon Griffiths, Australian Designers at Home takes readers on an intimate journey, revealing how the most influential designers decorate their own houses. Find out what home means from the people who create them for a living.

About the Author

Jenny Rose-Innes's love of houses, interiors and gardens began at a very young age. Over the past four decades, she has built or renovated numerous homes in South Africa, Australia and France, and has developed just as many gardens - often from scratch. She shares her passion for creating beautiful spaces, both indoors and out, on Instagram @jennyroseinnes.’]
Publishing details: T & H, 2019, 256pp
Ref: 1000

Griffiths Simon (Photographer)view full entry

Reference: see Australian designers at home, by Jenny Rose-Innes, Simon Griffiths (Photographer)
[’Australian Designers at Home invites readers into the homes of 20 of the country's leading names in interior design. With unfettered access to their most private retreats, we see where the best of the industry express their true, unfiltered selves. Jenny Rose-Innes celebrates the designers who have inspired her, sharing their histories and houses, as well as professional insights and practical tips on decorating. This book provides an invaluable resource for designers, decorators and interiors enthusiasts alike.

Richly illustrated throughout with stunning colour photography by Simon Griffiths, Australian Designers at Home takes readers on an intimate journey, revealing how the most influential designers decorate their own houses. Find out what home means from the people who create them for a living.

About the Author

Jenny Rose-Innes's love of houses, interiors and gardens began at a very young age. Over the past four decades, she has built or renovated numerous homes in South Africa, Australia and France, and has developed just as many gardens - often from scratch. She shares her passion for creating beautiful spaces, both indoors and out, on Instagram @jennyroseinnes.’]
Publishing details: T & H, 2019, 256pp

design in Australiaview full entry

Reference: see Australian designers at home, by Jenny Rose-Innes, Simon Griffiths (Photographer)
[’Australian Designers at Home invites readers into the homes of 20 of the country's leading names in interior design. With unfettered access to their most private retreats, we see where the best of the industry express their true, unfiltered selves. Jenny Rose-Innes celebrates the designers who have inspired her, sharing their histories and houses, as well as professional insights and practical tips on decorating. This book provides an invaluable resource for designers, decorators and interiors enthusiasts alike.

Richly illustrated throughout with stunning colour photography by Simon Griffiths, Australian Designers at Home takes readers on an intimate journey, revealing how the most influential designers decorate their own houses. Find out what home means from the people who create them for a living.

About the Author

Jenny Rose-Innes's love of houses, interiors and gardens began at a very young age. Over the past four decades, she has built or renovated numerous homes in South Africa, Australia and France, and has developed just as many gardens - often from scratch. She shares her passion for creating beautiful spaces, both indoors and out, on Instagram @jennyroseinnes.’]
Publishing details: T & H, 2019, 256pp

Winning Homes view full entry

Reference: Winning Homes - 75 Australian House Design Competitions. By: Tim Reeves. [To be indexed]. [’A fully illustrated photographic collection of award winning homes from the last century of Australian design and architecture, from the first competition won by the governors wife. Featuring many well-known architects and firms, homes of the prime ministers, archbishops and other notable individuals, and including houses that introduced construction techniques and styles that progressed the field. Full of illustrations, photos, plans and featuring a guided history of each house, providing context and theme. Carefully constructed by housing historian, Tim Reeves.’]
Publishing details: Halstead Press, 2020, 17699
Ref: 1000

architectureview full entry

Reference: see Winning Homes - 75 Australian House Design Competitions. By: Tim Reeves. [’A fully illustrated photographic collection of award winning homes from the last century of Australian design and architecture, from the first competition won by the governors wife. Featuring many well-known architects and firms, homes of the prime ministers, archbishops and other notable individuals, and including houses that introduced construction techniques and styles that progressed the field. Full of illustrations, photos, plans and featuring a guided history of each house, providing context and theme. Carefully constructed by housing historian, Tim Reeves.’]
Publishing details: Halstead Press, 2020, 17699

Bennett Gordonview full entry

Reference: Gordon Bennett - Selected writings. Edited by Angela Goddard and Tim Riley Walsh

Publishing details: A co-publication from Power Publications and Griffith University Art Museum. Paperback with dust jacket, 66 images, including colour plates, 216 pp
Ref: 1000

architectureview full entry

Reference: see Australia Modern - 15 Houses in Harmony with the Land, by Steve Huyton. [’Australia has wildly differing topographies and climates, and its best residential architecture draws on those site conditions in inventive ways. This book illustrates the strength of the country's shift from British-influenced Georgian-style homes to more indigenous structures attuned to the land - a movement led by Australian architects such as Glenn Murcutt, Richard Leplastrier, and Gabriel Poole in the 1970s. Witness a range of new houses that grapple with the locales in which they are built. Up north, down south, and on the coast, from small and low-budget to multimillion-dollar dwellings, the focus is on the use of raw materials, energy efficiency, adaptable spaces, and embrace of the great outdoors for which the country is known. Drawings and interviews with the architects shed light on how they apply their intelligence and creativity to produce striking buildings that are uniquely Australian. AUTHOR: Steve Huyton is a an architectural writer for international magazines and a blogger at Total Design Reviews.’]
Publishing details: 2019, 192pp

Whole Picture Theview full entry

Reference: The Whole Picture: The colonial story of the art in our museums & why we need to talk about it, by Alice Procter. With index and bibliography.
[’If you think art history has to be pale, male and stale - think again.
"Probing, jargon-free and written with the pace of a detective story... [Procter] dissects western museum culture with such forensic fury that it might be difficult for the reader ever to view those institutions in the same way again. " Financial Times
'A smart, accessible and brilliantly structured work that encourages readers to go beyond the grand architecture of cultural institutions and see the problematic colonial histories behind them.' - Sumaya Kassim
Should museums be made to give back their marbles? Is it even possible to 'decolonize' our galleries? Must Rhodes fall?
How to deal with the colonial history of art in museums and monuments in the public realm is a thorny issue that we are only just beginning to address. Alice Procter, creator of the Uncomfortable Art Tours, provides a manual for deconstructing everything you thought you knew about art history and tells the stories that have been left out of the canon.
The book is divided into four chronological sections, named after four different kinds of art space: The Palace, The Classroom, The Memorial and The Playground. Each section tackles the fascinating, enlightening and often shocking stories of a selection of art pieces, including the propaganda painting the East India Company used to justify its rule in India; the tattooed Maori skulls collected as 'art objects' by Europeans;’
Publishing details: Hatchett, 2020, pb, 319pp

Leishman Kerrie view full entry

Reference: Drawing the line : newspaper art 1986-2016 by Kerrie Leishman
Publishing details: Braddon, Australian Capital Territory : Halstead Press, 2020], 128 pages : illustrations (some colour)
Ref: 1000

Franklin Annieview full entry

Reference: Heart Stitched by Annie Franklin and Anita Patel. [’If you are looking for the perfect gift for an art lover, this beautiful limited edition book displays the paintings of Australian artist Annie Franklin with accompanying poems by the Canberra-based poet, Anita Patel.
"A few years ago, I walked into the Nancy Sever Gallery and was enthralled by the illuminated world of Annie Franklin. I wrote a review of the exhibition, which Annie loved, and we were introduced to each other by the inimitable Nancy Sever. It is not often that two artists understand each other's views unreservedly but that was how it was for us.
We have spent hours talking, working and laughing together. We have walked through wetlands and seasons, sat silently at waterholes with our notebooks and sketch pads, examined wattle blossom and grass seeds and marvelled at the flit of a fairy wren or a fleck of lichen on seed pods. We have shared many conversations about art and nature and life.
Heart Stitched is a book that illustrates our connection as creative women who respond to the world around them in word and in colour. It is a narrative of our mutual appreciation for the world of nature - for vast sweeping landscapes and for the realm of the minutae, for the unnoticed world underfoot and its interdependence with the more visible world above....
Heart Stitched is a joyful collaboration between two women who unexpectedly found each other and knew instantly that they understood the world with one heart." (from the Foreward by Anita Patel)
'If the public is increasingly starting to realise that climate change is real and a threat to our very existence, for artists it has long been the defining issue of our generation. Annie Franklin has been an environmentally motivated artist for most of the 30 years that she has been exhibiting. She came from a printmaking background and burst onto the stage with her vibrant political posters defending Aboriginal land rights and our fragile ecosystems....' (from the review of her latest exhibition by Sasha Grishin, The Canberra Times, 6/12/19)
]
Publishing details: Annie Franklin & Anita Patel, 2019, hardcover, 112 pages.
Ref: 1000

Kenne Ingvar photographerview full entry

Reference: The ball, by Ingvar Kenne
[’For the uninitiated among us, can you explain what a Bachelor & Spinster Ball actually is? What pulled you towards photographing them?
Like with all my personal work, I like to go into a project as uninitiated as I possibly can be, with a clear mind, ridden of any preconceived ideas. I had done a few projects in the past – Karaoke and one called The Hedgehog and The Foxes, which involved lots of young people in tight spaces fuelled by alcohol. A friend, Simon Harsent, suggested I continue with an all-out drunk Australia book, based on these, and suggested B&S balls. This was a bit over three years ago, and I didn’t know anything about them.
I am not sure if I can lie claim to know what they are, still. To me they are not unusual however – all over the Western Anglo world there are similar parties – spring break in the US, midsummer burn outs in Sweden. We have lost the old way of passing down a culture through initiation processes. The teens still have to grow up. Perhaps a part of that they do it with less guidance, together en masse with the help of alcohol and what not.

Where did you travel to attend the B&Ss & how many have you been to?
I went to 10 over the course of 3 years. started and finished in Queensland, one in the NT and the rest was in VIC and NSW.

You must’ve become a regular on the circuit after a while… What was the reaction (if any) from the ball attendees to you, an outsider on the inside, armed with a camera? Do you think in general the existence of the camera curtailed or encouraged?
Yes, I met people who seem to attend most of them…for them it is a lifestyle, they work their schedule around when and where the Balls take place. I made sure I was clearly the photographer. Beyond being way older than most attendees, I also wore a vest for my gear and I had a large camera with flash on it. There was no mistaking why I was there.
95% of the photographs I took was for them. This is the Facebook generation. They want to be seen, tag and share their experiences. “Hey cameraman!!!” was yelled out constantly, getting me over to document their antics. The people going to these Balls are really proud of them. Yes, the camera made them often show off more than if it wasn’t there. Those pictures never made the book, when I felt my presence influenced why the photographed existed.
For me personally, I am curious and the camera helps me investigate that curiosity. There is no way I would be at a Ball without a camera. It is my shield and equally my invitation to be curious. I am an outsider because of it, yet fully emerged in what is taking place.

Some of the photographs look like they were taken amidst complete & utter chaos. As a photographer this must’ve been challenging, but what was this experience like on a personal level– being comparatively straight laced amongst this level of disorder?
It was chaos non-stop. It never ceased. It was like going into a fighting ring for 12 hour straight.
In a way it was exhausting, but also rewarding. All these folks are really friendly and were very accepting of me being there. No one brings their phones out to take photos, so this is the only recording they have of what happened last night. I always made sure I uploaded a couple of hundred images after each ball so they could share and tag each other afterwards.

Did you conceive this work with the intention of it being viewed in book form? If so, did this in any way play into your approach to photographing the series?
It was always a book in my mind. Like all my personal work projects. I was really conscious of never looking back on what I had done, until the very end. I didn’t want my photographs to date inform what I should try to get next. In line with not being influenced with any pre-conceived ideas. Each Ball I wanted to land in fresh. Saying that, they are all very identical in their setup. It felt like groundhog day going back to a new one. The same scenario playing out over and over.

For us photobook nerds, tell us a little about the actual book making process. How did you come by your publisher Journal (Sweden)? How long did it take for the book to come into fruition?
I have known Gosta at Journal for many years since I was active as an exhibiting photographer in Sweden. I was quite excited about him having interest in a very Australian body of work, it is unusual for him publishing stories without a Nordic connection. We printed in Denmark at Narayana Press, where all his books are being printed. A fantastic experience, highest quality process.

The Ball also includes correspondence with Tim Winton. Can you tell us how this came about?
I sent him a box of prints, unsolicited, towards the end of shooting this project. He kindly sent it back with a very generous letter of declining to write an essay. But yet, in his response, he managed to condense an answer that to me summed up the feelings of what these Balls are like for the uninitiated person. I asked him kindly to let me publish that response, alongside my letter to him, as the only text in the book….and he agreed.

What’s up next? Are you currently working on a new project/book?
I have 3 more projects on the go…that are ready to be finalised as books. There is no rush however, and they will tell me when they are ready. I have also just completed my first feature drama film, an 8 year process – a 93 minute piece called The Land. It is due for release in 2019 .
Publishing details: thebartist, limited edition. c2020.
Ref: 1000

Martiensen Robertview full entry

Reference: The secret : Robert Martiensen / Elizabeth Arthur ; [foreword by] Jenny Zimmer
[’“Previously Unknown to the Art World, His Secret is Now Out. When in 2007 Robert Martiensen was found deceased in his derelict home in rural South Australia an incredible secret was revealed. Throughout the house were stacks of some 7000 framed and unframed paintings-exceptional works of art created after 1990 when he retired as a mathematics teacher. Quick thinking and rapid action by this book’s author saved this collection from destruction or dispersal. Martiensen kept his painting a secret, never seeking to exhibit of sell his creations. As his story is told by Dr Elizabeth Arthur, he emerges as an enigmatic, erudite, inflexible and obsessive figure, someone who might well be described as an ‘Outsider Artist’, a rare, ranging talent on the margins of the art world. More than 500 colour reproductions of Robert Martiensen’s paintings are included in this book-artworks that clearly demonstrate his fluctuating moods and intellectual interests and exhibit his remarkable aesthetic achievement.”--Dust jacket.
Notes Includes index.
"In life a brilliant teacher and sportsman, but an elusive, enigmatic and eccentric intellectual. In death a secret life is revealed"--Title page.
Includes bibliographical references.’]
Publishing details: North Melbourne, Victoria : Australian Scholarly Publishing, 2020,
279 pages : colour illustrations, colour portraits
Ref: 1009

Rosenlund Kara photographerview full entry

Reference: Weekends by Kara Rosenlund. [’For years, photographer and stylist Kara Rosenlund's passion was searching for a shack where the bush met the beach. When she found an original 70s A-frame weekender on an island off the east coast of Australia, weekends took on a new meaning. Nesting in this house deepened her appreciation for simple pleasures and showed her the value of carving out time to really make the most of Saturdays and Sundays.

In this personal guide to enjoying the power of weekends, Kara invites us into her A-frame. She shares the interiors of her home and reveals her styling philosophy with helpful tips for composing a vignette. She guides us through her photographic process and shows us how we too can develop an artist’s eye with the camera. She also celebrates the delight in making the perfect prawn sandwich and how to appreciate the simple act of line drying laundry.

Kara Rosenlund is known for her nostalgic take on iconic Australia. This is a personal book dedicated to the quintessential spirit of summer weekends in Australia and how we can best enjoy them through interiors, food and nature.
’]
Publishing details: Hardie Grant, c2020, pb, 160pp
Ref: 1000

Moore Tom glass artistview full entry

Reference: Tom Moore : abundant wonder, by Lisa Slade, Mark Thomson, Adrian Franklin. [’Tom Moore is one of Australia's leading glass artists. Over his career he has carved out a singular voice within Australian glass art making. His engaging, sophisticated and technically challenging hybridised animal/plant sculptures - and the fantastical worlds they inhabit - are embedded in the history of glassmaking and scientific discovery. His artworks are disarmingly playful in their use of narrative to critique the pressing social and environmental concerns of our contemporary epoch. Tom Moore was born in 1971 in Canberra, Australia. He graduated from Canberra School of Art, Australian National University, in 1994, trained in production techniques at JamFactory until 1997, and worked as Production Manager in the JamFactory's glass studio for 15 years. In 2019, he was awarded a PhD at the University of South Australia for his thesis 'Agents of Incongruity: glassmaking embraces nonsense to navigate monsters, wonder and dread'.
Notes Published to coincide with the exhibition JamFactory Icon Tom Moore : abundant wonder, shown at JamFactory, Adelaide, from 9 October - 22 November 2020 before touring nationally.
Bibliography: page [175]’]
Publishing details: Mile End, South Australia : Wakefield Press, 2020,
174 pages : colour illustrations
Ref: 1000

Coelho Kirsten view full entry

Reference: Kirsten Coelho by Kirsten Coelho
Publishing details: Brisbane, [Queensland] : Philip Bacon Galleries, 2016
7 pages : colour illustrations
Ref: 1000

Coelho Kirsten view full entry

Reference: Kirsten Coelho by Wendy Walker. [’Kirsten Coelho works in porcelain creating functional forms and vessels of a distilled and otherworldly perfection, which represent her preferred fusion of the formal with the abstract. Deeply grounded in North-Asian ceramic history and the powerful legacy of the British studio movement, her refined interpretations of humble domestic wares nevertheless possess a distinctly contemporary and Australian sensibility. In this book, the first major publication on a practice spanning thirty years, images of Coelho's impeccable vessels are interleaved with fragments of poetry and reproductions of paintings by Jean-Baptiste-Simeon Chardin, Russell Drysdale and Vilhelm Hammersh.’]
Publishing details: Mile End, SA : Wakefield Press, 2020, 164 pages : colour illustrations
Ref: 1000

Rae Judeview full entry

Reference: Jude Rae : still lifes / [exhibition curator: Mark Van Veen] Exhibition held at Canberra Museum and Gallery: 6 February - 6 June 2010.
Publishing details: Canberra : Canberra Museum and Gallery, 2010
35 p. : col. ill.
Ref: 1000

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