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

Kelly I exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Knox Ida F exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Knox Isabel exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Konig J exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Lahey Vida exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Lakeland E exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Lane Joan exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Langley Betty J exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Lascelles Jean exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Laver Jessie B exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Leber Ruth exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Leschkau Gretchen exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Levi Sara exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Lewis Hilary exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Lormer M Eily exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Macartney Mavis exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

McCubbin Sheila exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

McCubbin Winifred exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

McGowan Maidie exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

McInnes Violet exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Macintosh Jessie exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

McLean Margaret exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

McLean Rita exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

McLeash Mary exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Macqueen Mary exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Mahood Marguerite exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Mathews Marjorie McChesney exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Malcolm Joan exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Massey Rosemary exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Merfield Bertha exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Meilerts Ludmilla exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Meier Joyce exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Mimovich Leopoldine exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Minchin Helen exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Misso Yona exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Montgomery Anne exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Moore Dorothy G exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Morrison Vera exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Mosig Marjorie exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Newman Betty Paterson exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Nielson A exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Nielson Jennie L exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

North Marjorie exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Nicholas Hilda Rix exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Oakley A E exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Ogilvie Helen exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Oliver Annie Davidson exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Olsen Betty exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Paddick Roma exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Padgam Meg exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Paterson Betty exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Paterson Esther exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Paterson N M exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Patterson Nellie exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Peake Barbara exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Pearcey Eileen B exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Perrey Judith M exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Perry A E exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Pestell Margaret exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Peters Helen exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Phillips R exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Philip Enid exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Phillips Amelia exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Plante Ada M exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Pitts D exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Pratt B exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Pryde Mabel exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Pye Mabel exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Rastrick Liz exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Roach Elma exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Riggall Louise B exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Roberts Sheila exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Roberts Roberta exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Rodway Florence exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Robison Edith exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Rubbo Ellen exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Serle Dora Beatrice exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Saunders F exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Sinclair Lesley exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Smith Ena exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Southern Clara exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Spowers E exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Stephenson June exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Stevenson Grace H exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Stewart Janet Cumbrae exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Stone Daisy exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Sutherland Jean exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Sutton Alicia exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Syme Evelyn exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Symonds D exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Taylor Charlotte exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Taylor Stephanie exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Teague Violet exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Thomas Lynette exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Thomas Louise exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Thompson Joyce exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Thomson Rollo exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Thorn Ella exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Thorpe Lesbia exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Tompkins D exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Trahair Heloisa exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Traile J C A Jessie exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Trickett Ellen exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Tweddle Isabel Hunter exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Turner Kit exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Van Stavern I exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Vercoe Elfrida M exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Wade Eve exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Wahlers Chrisma exhibited with Melbourne Society of Women Painters and Sculptors view full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980. Includes list of exhibits at the 1980 exhibition and a lost of ‘Members wh have exhibited with the Melbourne Society of Women Painters and Sculptors’.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Women Painters and Sculptors Melbourneview full entry

Reference: see Melbourne Society of Women Painters and Sculptors 1901-1980, A Survey of Exhibiting Members. At The McClelland Gallery. Exhibition 9 march - 20 April, 1980.
Publishing details: McClelland Gallery.
[Frankston, Vic. 1980.16 pages.

Shadbolt Lukeview full entry

Reference: Maelstrom - Luke Shadbolt. Maelstrom is Luke Shadbolt's first major publication, surveying photographs that have informed the artists first five years of practice. Set at a limited edition of 1500, each edition of this book is hand numbered and signed by the artist. [’Luke Shadbolt’s consuming passion for the ocean gave him the privilege of spending his formative years travelling between remote natural areas and densely populated environments, affording him an empathetic insight into the interconnectedness of the world we inhabit.
His sculptural, abstract photography examines the duality of nature, of language, and sense of place with a specific focus on the oceans. Exploring the exchange, cycle and balance of power fundamental to the functioning of our planet, Shadbolt aims to renew an awareness and appreciation of the environment.

Shadbolt currently spreads his time between his fine art practice and commercial photography/creative direction, with an emphasis on underwater photography, action sports, travel, lifestyle and fashion.
Luke Shadbolt is a Central Coast based artist who studied Visual Communication at the University of Newcastle. He has recently secured covers of Surfing World and the QANTAS Magazine and worked with commercial and editorial clients including Audi, Tourism Australia, Nikon and SK-II. His first major solo exhibition as a visual artist was staged by Michael Reid Sydney in 2016.’]
Publishing details: 2021
Ref: 1000

South Australian Institute essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

colonial art essay p45-51view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Wilson Thomas art connoisseur in Adelaide essay p56-60view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

printmaking in Adelaide essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Photographic Society South Australia 1885-1910 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Artists Association South Australia 1887-8 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

South Australian Artists Association 1887-8 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Adelaide Art Circle 1890-92 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Federal Art Exhibitions 1898-1908 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Smoke Nights Adelaide 1903-8 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Eddy Margaret A illustration p xixview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

von Harritzsch Otto silversmith illustration p 27view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Adamson James Hazel illustration p 28 53view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Gill S T illustrations p 36 50 53view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Hitchin J after E A Opie illustration p 44view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Opie E A illustration p 44 lithograph by J Hitchinview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Deering John W illustration p 52 and some biographyview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Angas George French illustration p 54-5view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Howard Frank illustration p 56view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Wilson Thomas reference p 56view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Keane James illustrations p 67 94view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Hambidge Millicent illustration p 71 103view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Solomon Saul photograph p79 and 80view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Duryea Townsen photographs p79view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Reynolds George A illustration p 84view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Broad Alfred Scott illustration p 85view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Wadham William J illustration p 86 and biographical infoview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Sinclair Alfred illustrations p 86 and biographical infoview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Fristrom Carl Magnus Oscar 1856-1918 illustrations p 92 member of Easel Clubview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Anson Emily illustration p 92 with brief biographyview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Ashton James illustration p 92 101view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

MacCormack Andrew illustration p 93view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Burford Frederick Rumsay Richardson illustration p 93 with brief biographyview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Wall C illustration p 94view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Gill Harry P illustration p 102view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

White John illustration p 94view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Gordon Peter woodworker illustration p 102view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Scott Winifred illustrations p 102view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Boothby Mabel illustration p 102view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Comley Reginald illustration p 104view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Buring Rudi illustrations p 106 107view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Howie Lawrence illustration p 110view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Coates Vera illustration p 112view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Dudley Rodview full entry

Reference: ROD DUDLEY: Sculptures and Paintings.
An Australian artist's life in Italy.
Publishing details: Rod Dudley, 2010.
Oblong 4to, 131pp. Colour illustrations.
Ref: 1000

Jandany Hectorview full entry

Reference: HECTOR JANDANY.

Publishing details: Warmun Art Center, 2004.
Small square 8vo, 85pp. Colour illustrations.
Ref: 1000

Modernismview full entry

Reference: 1956 MELBOURNE, MODERNITY AND THE XVI OLYMPIAD.

Publishing details: Museum of Modern Art at Heide, 1996.
4to, 112pp. Colour and black & white illustrations.

South Australian artview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

sculpture at the Royal South Australian Society of Artsview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

sculptors at the Royal South Australian Society of Artsview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Maxwell William James sculptor 1840-1902 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

women artists in South Australia essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

printmakers at the Royal South Australian Society of Artsview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Marek Dusan illustration p ixview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Smerd Michael illustration p ix with biographyview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Allnutt Jennifer illustration p xiiview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Bettany Desmond illustration p xivview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Petts Charles A illustration p 20view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Shaw James illustration p 20view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Solomon Saul illustration p 20 with biography view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Hambidge Helen illustration p 29view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Barnes Gustave illustration p 29 42view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Minchin R E illustration p 28view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Pomeroy Frederick W illustration p 30 with biographyview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Buxton Jessamine illustration of sculpture p 30view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Fiveash Rosa illustrations p 36 41 wildlowersview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Fenton Gertrude illustration p 36 wildflowersview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Gemmell Nancy illustration p 39 wildflowersview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Hambidge Millicent 4 illustrations p 40view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Bosworth Amy illustration p 41 wildflowersview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Overbury Mary A illustrations p 41view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Fenton Gertrude illustration p 41view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

McNally Matthew J illustration p 42view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Gill Harry Pelling illustration p 45view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

White John illustration p 46view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Collins Archibald illustration p 46view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Power Harold Septimus illustration p 48view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Goodchild John C illustration p 49view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Waden Robert illustration p 49view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Bowen Stella illustration p 50view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Goodchild Doreen illustration p 50view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Hick Jacqueline illustration p 50view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Gwynne Marjorie illustration p 53view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

van Raalte Henri illustration p 54 57view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Harris Mary P brief biog p 55view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Britton Frederick C brief biog p 55 illus p57view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Pavia Charles brief biog p 56view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Wall C illustrations p 56view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Helsby Malcolm illustration p 57view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Carbins Malcolm illustrations p 58 61view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Gaston Gary Lee illustration p 58 60view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Baily John illustration p 60view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Hick Jacqueline illustration p 61view full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Hill Charles 1824-1916 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Shaw James 1815-1881 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

MacCormac Andrew 1826-1918 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

de Mole Fanny 1835-1866 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Overbury Mary 1851-1926 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Collins Archibald 1853-1922essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Fiveash Rosa 1854-1938 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Menpes Mortimer essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Hambidge Helen 1857-1938 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Hambidge Millicent 1872-1938 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Armstrong Elizabeth 1860-1930 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Wadham William J 1863-1950 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Wilson Jean L c1860s - c1924 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Hambidge Alice 1869-1947 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Tuck Marie 1872-1947 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Lever Richard Hayley 1875-1958 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Heysen Hans essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Barnes Gustave 1877-1921 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Power Harold Septimus 1878-1951 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Davidson Bessie 1879-1965 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Bassett Florence Hildegarde 1888-1948view full entry

Reference: see GFL auction, Perth, WA, 23.11.21, lot 87: FLORENCE HILDEGARDE BASSETT
(1888-1948)
WESTERN AUSTRALIAN WILDFLOWERS (17)
Initialled
Watercolour
various

Scott Peter Markham (English)view full entry

Reference: see GFL auction, Perth, WA, 23.11.21, lot 114: PETER MARKHAM SCOTT (ENGLAND)
(1909-1989)
MALE BRUSH TURKEY SEEN AT LAKE BARRINE ATHERTON TABLELAND
Signed and dated March 1983 lower left, titled lower centre
Ink and gouache
12 x 14.5cm

Jenner Isaac Walter view full entry

Reference: see 'Mosby’s promotion of Isaac Walter Jenner’, by Mahoney, Bronwyn. Art Off Centre: placing Queensland art; Cooke, Glenn (ed.), Queensland Studies Centre pp 65-70.
Publishing details: Griffith University, Brisbane, Qld., 1997.

Adelaide Camera Club essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

photography - Adelaide Camera Club essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Camera Club Adelaide essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Society of Arts Adelaide essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Gill Harry P essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

White John essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Ashton James essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Davies Edward essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Howie Lawrence H essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Wilkie Leslie H essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Arunta Watercolour Artists essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Contemporary Art Society Adelaide essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Goodchild John C essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Whinnen George essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Goldfinch Duncan essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Grey Frederick M essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Glover Allan essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Beadle Paul essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Dowie John essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Game Stewart essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Lyle Max essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Smith Mervyn essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Boyce Donald essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Marchant Harry essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Manley Elizabeth essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Mincham Jeffrey essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Schrapel Stephanie essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Dutkiewicz Adam essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Steiner Andrew essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Alport Kate essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Griscti Paul essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Shepherd Wendy Jane essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Bills Bev essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Raggatt James essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Waller Vikki essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Macgeorge James office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Abraham Abrahams office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Stodart Henry office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Minchin Richard E as office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Gold Walter K as office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

James Sydney H as office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Keane James as office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Powell Herbert E as office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Soward George K as office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Sowden Sir W J as office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

van Raalte Henri as office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Fuller Henry E as office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Buring Rudolph as office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Pavia Charles J as office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Kohlhagen Lisette as office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Woodroffe John as office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Jew Betty as office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Brett Donna West as office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Carapetis Stavros as office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Ritter Gerhard as office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Landt Robert J W as office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Condous John as office bearer - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Craig Robert W 1871-1933 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Venner Mamie 1881-1974 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Henty Ruby 1884-1972 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Gum Maude E 1885-1973 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Giles John 1885-1970 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Grigg May 1885-1969 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

McCubbin Louis 1890-1952 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Good Gladys K 1890-1979 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Harris Mary P 1891-1978 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

McNamara Leila 1894-1973 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Roach Gilbert T M 1895-1972 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Raglass Max 1901-81 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Francis Ivor 1906-1993 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Tuck Ruth 1914-2008 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Gemmell Nancy 1914-2011 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Hann Marjorie 1916-2011 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Wotzke Walter 1917-1996 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Burke Peg 1917-1996 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Dutkiewicz Wladyslaw 1918-1999 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Hick Jacqueline 1919-1994 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Mart Gordon 1920-2016 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Smart Jeffrey 1921-2013 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Rayner Durham 1926-2015 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Rohde Margaret b1931 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Groblicka Lidia 1933-2012 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Molan June 1935-2015 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Winter Lucie b1940 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Fletcher Pip b1942 as life member - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume One, Early years, presidents, officials & honorary life members, edited and compiled by Adam Dutkiewicz. Includes essays on over 100 artists. Also includes information on artists who are not the subject of an essay and essays on art subjects. [’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2016,
418 pages : chiefly colour illustrations, portraits

Kay Robert essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

sculptors at RSASA essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Maxwell William J essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Workers Educational Association Adelaide essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

printmakers at RSASA essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

McNally M J essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Goodhart Joseph Christian essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Barringer Gwendoline L’Avance - essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Preston Margaret essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Barringer Ethel essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Wolff Edward Alfred essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Gwynne Marjorie essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Gwynne Marjorie essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Lowcay Rose essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Britton Frederick C essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Ashton Will essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Black Dorrit essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Richardson Marguerite 1892-1965 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Battarbee Rex essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Boxall Arthur d’Auvergne 1895-1944 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Buxton Jessamine V A 1894-1966 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Waden Robert 1900-1946 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Webber Travis 1900-1968 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Choate Joseph 1900-55 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Goodchild Doreen 1900-98 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Trenerry Horace essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Namatjira Albert essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Sauerbier Kathleen 1903-1991 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Riebe Anton 1905-1986 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Samstag Gordon 1906-1990 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Hayward Ursula 1907-1970 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Wood Rex 1908-1970 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Stipnicks Margarita 1908-2010 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Stoward Clive R 1909-68 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Heysen Nora essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Chapman Dora essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Cant James essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Mainwaring Geoffrey R 1912-2000 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Fehlberg Tasman 1912-71 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Hele Ivor 1912-71 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Wreford Elaine 1913-95 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Wood Noel 1912-2001 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Dallwitz David 1914-2003 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Caddy Jo essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Elhay Evelyn 1916-2001 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Fehring Hilda 1918-2013 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Kidman June 1918-2001 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Marek Voitre 1919-99 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Roberts Douglas 1919-76 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Bettany Desmond 1919-76 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Erns Ingrid 1919-87 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Bannon Charles essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

James Louis essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Robertson Barbara 1921-2011 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Dutkiewicz Ludwik 1921-2008 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Carbins Malcolm 1921-2002 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Feneley Miriam 1921-1996 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Comport Pip b1922 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Pocius Ieva 1923-2010 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Hackett Gwenda 1924-2010 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Berekmeri Steve 1924-2010 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Kloeden Ruth essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Marek Dusan 1926-1994 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Hua Fua essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Brown Geoffrey 1926-2015 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Wilson Geoffrey essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Sadlo Alexander essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Ostoja-Kotkowski 1927-1994 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Ostoja-Kotkowski Stanislaus 1927-1994 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Baily John 1927-2015 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Powell Barbara essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Redman Joy 1928-2006 essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Daws Lawrence essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Seidel Brian essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Chapman Avis essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Richardson Donald essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Pryor Peter essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Perovan Justina essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Michelmore Mary essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Driden David essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Zhang Victor essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Michell Pat essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Adams Ronald essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Olijnyk Leonid essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Heidenreich Judith essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Anderson Betty essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Stanfield Silvia essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Gore Jenny essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Bungey Nyorie essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Phillips Arthur essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Gaston Gary Lee essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Henderson Ian essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Hanrahan Barbara essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Prest Cedar essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Mickan Helen essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Scott Joyce essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Choate Penny essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Hannaford Robert essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Kouwenhoven Pamela essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Heyer Kon essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Whittam Sheila essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Stacey Helen essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Skillitzi Stephen essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Clegg Heather essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Hall Rita essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Braun David W essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Dowie Penny essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Lacey John essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Glover Andrea Num essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Bridgland Janet essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Apponyi Silvio essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Steer Cathi essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Andrecki Krystyna essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Downing Lindy essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

de Pieri Salvi Gina essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Magain Maxwell essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Makepeace Jann Louise essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

David Phillip essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Baker David essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Lewitzka Lorraine essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Whitney John essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Johns Greg essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Zerna-Russell Robyn essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Micklethwaite Frey essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Mooney Uta essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Dutkiewicz Michal essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Thomas Avril essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Sheppard Neil essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Ramachandran Alan Louis essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Hatswell Graeme essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Bridgart Cheryl essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Rehorek Ivan essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Rehorek Caroline essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Hjorleifson Roger essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Merkalova Liza essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Adil Iroda essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Wathers Simon essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Wagstaff Mary essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Eames Scott essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Konoschuck Olga essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Ward Emerson essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Esparzo Camilo essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Shepherd Oliver essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Hannaford Tsering essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Ingerson Lisa essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Coles Meaghan essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Blanch Alice essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Bishop-Thorpe Alex essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Christie Donovan essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Allnutt Jennifer essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Thompson Samuel essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Dryden Olivier essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Dixon Jasmine Ann essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Melrose Prize 1921-67 Adelaide essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Venner Prize 1936-58 Adelaide essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Jubilee Art Prize Adelaide essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Cornell Prize Adelaide essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Maude Vizard Wholohan Prize Adelaide essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Solar Art Prize Adelaide essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

RSASA Art Prizes Adelaide essayview full entry

Reference: see A visual history : the Royal South Australian Society of Arts, 1856-2016. Volume two, edited and compiled by Adam Dutkiewicz ; [foreword by] Rev. Vikki Waller. Volume two includes other significant artists that were not necessarily in Volume One. There are essays on over 160 artists. Also includes information on artists who are not the subject of an essay as well as essays on exhibitions and on other art subjects.
[’The South Australian Society of Arts was founded in October 1856, incorporated in 1894, and received its Royal charter in 1935 for the state’s centenary in 1936. Its aims were the promotion of the arts, not only painting, photography, and sculpture but also of architecture, decorative design, and decorative and applied arts; and through loans, competitive exhibitions, lectures and the formation of an art library.
It presented Annual Exhibitions, initially in locations such as the Legislative Council and the Adelaide Town Hall. In 1861 the South Australian Institute, formed to house a host of affiliated cultural bodies, provided rooms for the Society in a new building on North Terrace. For some time the Society concentrated on establishing a school of art and design and founding a national gallery. The South Australian School of Art (previously School of Design and later SA School of Arts & Crafts) began in its rooms in the Institute and after 1871 it became difficult to secure an adequate venue to house the volume of art work for its annual exhibitions. The National Gallery held its first exhibition in 1881. In 1884 the Society was recognised by Parliament and affiliated to the Public Library, Museum and Art Gallery of South Australia by Act No. 296.
With its focus on areas other than exhibitions, the Society suffered criticism in the press but received continuing support from government. With membership dwindling, the Society was regenerated by a band of dedicated members, including the Chief Justice, Sir Samuel Way, who had from time to time served as President when Acting Governor of the colony, and the newly appointed Director of the School of Design, Harry Pelling Gill, who was a Vice-President. This core group established a cooperative council comprised of artists, architects, accountants and businessmen who set about rejuvenating the Society, and it held its first annual exhibition for some years in the top lit rooms in the Institute in 1893 (the School of Art having relocated to the Exhibition Building). It published a significant, illustrated catalogue to accompany the exhibition.
The Society had formal affiliations with the South Australian Photographic Society and the SA Institute of Architects. It hosted the annual exhibitions of the spin-off society, the Adelaide Easel Club, founded by a small band of disaffected senior artists, including the brothers William Wadham and Alfred Sinclair (Wadham), Hans Heysen, Hayley Lever, Rose Macpherson (Margaret Preston) before the Society’s renewal, in 1892. It lasted until 1901, when it was amalgamated with the senior society once again.
In 1898 the Society expanded its exhibition programme to include the Federal exhibitions, formed with funds from the bequest of Thomas Elder in order to provide the means by which pictures could be acquired from artists across the colonies to form the core of an Australian collection for the National Gallery. The Federal Exhibitions ran until 1923, at which time it was decided they had fulfilled the intended purpose.
New rooms and a permanent gallery were added in a north wing to the Institute Building, opening in 1907; the Society still occupies these rooms and presents regular exhibitions in the gallery. In the 1920s the Society began to show more and more solo exhibitions by its star artists, and helped to launch the careers of ambitious young painters and etchers; people like Hans and Nora Heysen, Gustave Barnes, Leslie Wilkie, Will Ashton, Hayley Lever and d’Auvergne Boxall, Allan Glover, Fred Millward Grey, Joseph Goodhart, Marie Tuck, Dorrit Black, Horace Trenerry and Max Ragless all showed solo exhibitions.
In the 1930s it promoted the Arunta watercolour painters, and was one of the first galleries in Adelaide to present work by the Papunya Tula painters in the 1970s and 80s. It gave birth to the Contemporary Arts Society in the early 1940s, through its junior, more modernist inclined members, and continued to show its annual and major exhibitions until it secured its own premises in 1964. It hosted annual exhibitions of the Adelaide Camera Club well into the 1950s, as well.
The Society was a base and means by which many refugee and migrant artists were able to build their careers in Adelaide after the Second World War. Artists like Dusan and Voitre Marek, Wladyslaw and Ludwik Dutkiewicz, Stan Ostoja-Kotkowski, Ieva Pocius, Alexander Sadlo, Stanislaus Rapotec, Lidia Groblicka and many others were Fellows of the Society and regular exhibitors in group, prize and in solo exhibitions. It has always accommodated potters, carvers, illustrators, photographers and creative and genre painters of all kinds.
It runs satellite groups, like the Sketch Club (est. 1923 by Henri van Raalte) and the Outdoor Painting Group. It maintains associations with other art societies and suburban groups, as well as formal affiliations with the Friends of the SA School of Art. It offers several prizes, including the Portrait Prize and Solar Art Prize exhibitions, as well as smaller prizes in its members exhibitions every year.
Its presidents have included architects, ceramic artists, sculptors, modellers, painters, etchers, illustrators, photographers, textile artists and art critics.
The first volume, which features the early history and officials of the Society, was released to coincide with the Society’s 160th anniversary celebrations in October 2016. It was available from the society in two editions: for $75 (deluxe paperback) or $50 (economy paperback) but is now sold out (Volume Two can still be reprinted under current permissions)’]
Publishing details: Royal South Australian Society of Arts Inc., 2017], xv, 422 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)

Shumack Kayeview full entry

Reference: Kaye Shumack: Drawing Sydney Exhition
November, 2021. The Drawing Gallery, National Art School.
Kaye Shumack: Drawing Sydney presents a selection of drawings created over the past four to five years by NAS alumna Kaye Shumack, a much-admired member of the NAS community who very sadly has recently passed away. With her acute powers of observation, Shumack’s expressive drawings explore motifs and traces from the urban landscapes of Sydney’s public spaces and streetscapes, revealing the beauty of some of the lesser known, ordinary locales as well as key landmarks.
Publishing details: National Art School, 2021
Ref: 1000

Paterson Bethanyview full entry

Reference: see Gorringes auction, Lewes, United Kingdom, December 7, 2021, lot 394 Bethany Paterson (Australian, fl.1930's)

'Bedtime'
oil on board
signed
Dimensions
20 x 29cm
Artist or Maker
Bethany Paterson (Australian, fl.1930's)
Medium
oil on board
Condition Report
Oil on board in honest untouched condition, would benefit from a light clean, signed lower left, trace on an inscription in lower right corner, housed in a white painted scroll frame, label verso for The Gould Galleries of Victoria Australia

Paterson Betty ? Bethanyview full entry

Reference: see Gorringes auction, Lewes, United Kingdom, December 7, 2021, lot 394 Bethany Paterson (Australian, fl.1930's)

'Bedtime'
oil on board
signed
Dimensions
20 x 29cm
Artist or Maker
Bethany Paterson (Australian, fl.1930's)
Medium
oil on board
Condition Report
Oil on board in honest untouched condition, would benefit from a light clean, signed lower left, trace on an inscription in lower right corner, housed in a white painted scroll frame, label verso for The Gould Galleries of Victoria Australia

Wood J B Atholview full entry

Reference: see DAAO: Modeller, signed an eight and a half inch tall plaster bust of the theatre entrepreneur J.C. Williamson. Modeller, signed an eight and a half inch tall plaster bust of the theatre entrepreneur J.C. Williamson, which is also dated 1 April 1912 (Stephen Scheding collection, 1980s).

Duncan Georgeview full entry

Reference: see DAAO: Painter, was born in New Zealand to Australian parents in 1904; a student of Dattilo Rubbo. Painter, was born in New Zealand to Australian parents uninterested in art on 7 January 1904. Forced to go to work aged 14, he took up a position with an oil company that required him to complete a science and mathematics degree despite always yearning for 'a life of art’. When he discovered the existence of art classed in Australia in his late teens and became a long-term student at Dattilo Rubbo 's classes at the Royal Art Society, where he met Alison Rehfisch , who became his lover. In 1926 he won the Royal Art Society’s student exhibition prize. 6ft 7 ins tall and weighing 20 stone, he was 'the guardian angel of the Royal Art Society. Big, blond [sic], blue-eyed obliging George – if anything went amiss in the place, we said, “Let George do it.” “Let George do it” was the class catchword’ (Power, p.43, quoting Margaret Coen but not acknowledging source). Alison left husband and daughter to go with George to Europe to study and paint. They stayed away five years. In the 1980s Stephen Scheding owned The Fisherman’s Dawn, Concarneau , oil on hessian 50 × 60 cm, signed 'DUNCAN’.

Prints in Colonial Australia 1801 - 1901view full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index.
Bibliography: p. 280 - 284. Includes some biographical information on artists within text. [Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Colonial printsview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index.
Bibliography: p. 280 - 284. Includes some biographical information on artists within text. [Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Blandowski Williamview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Cogne Francoisview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Bates Daniel love tokenview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Lewin John William extensive information especially p7-20view full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Preston Walterview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Barrett Thomas engraved medalview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

forgers of banknotesview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

forgeries of banknotesview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Howe George printerview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Slagar Philipview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Slaegar see Slagar Philipview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Eyre John extensive informationview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Clayton Samuelview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

West Absalomview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Browne Richardview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Wallis Jamesview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Linnell John (English)view full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Edgar Edmundview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Carmichael Johnview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Wilson Williamview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Moffitt Williamview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Bock Thomasview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Frankland Georgeview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Lempriere Thomas Jamesview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Allport Mary Mortonview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Ham Brothersview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Fowles Josephview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Stafford Georgeview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Ham Thomasview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Strutt Williamview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Tulloch Davidview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Bruce Charlesview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Jones Williamview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Laing J Wview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Hill T Aview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Mitchell Thomasview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Redaway Jamesview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

James Redaway & Sonsview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Duterrau Bemjaminview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Jones Henry Gilbertview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Thomson Georgeview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Nixon Frederick Robertview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Austin Johnview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Ross Jamesview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Goodwin W Lview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Howard G view full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Clayton Thomasview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Nicholas Williamview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Earle Augustus extensive information p89-102view full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Austin J Gview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Rodius Charles extensive information view full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Fernyhough Williamview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Russell Robertview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Baker Williamview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Pittman Josephview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Winstanley Edwardview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Gill S T extensive information view full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Schramm Alexanderview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Atkinson Charlesview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Brown Hablot Knightview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Norrington Thomas lithographerview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Chapman Thomas Evansview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Eaton Henry Green lithographerview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Rae Johnview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Prout John Skinner extensive information view full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Austin John Baptistview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Calvert Samuelview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Burgess Ellenview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Dunn J L Sview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Martens Conrad extensive information view full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Thomas Edmundview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

von Guerard Eugeneview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Nash Hview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Angas George Frenchview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Becker Ludwigview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Rowe Georgeview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Clarke Cuthbert Charlesview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Gilks Edward lithographer publisherview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Parsons Elizabethview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Deutsch Hermanview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Shepherd Richardview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Mason Cyrusview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Glover Henry Heathview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Whitelock Nelson Pview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Hamel Juliusview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Hamel & Fergusonview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Perry George view full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Gould William lithographer active c1839-57view full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Appleton G A lithographer view full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Chevalier Nicholas extensive information view full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Morris Alfred & Coview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Alfred Morris & Coview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Piguenit W Cview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Lhotsky Johnview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Schoenfeld Frederickview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Bartholomew Arthurview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Scott Helenaview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Sowerby G Bview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Prout Victorview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Fiveash Roasview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Barrett Hview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Meredith Louis Anneview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Bateman Edward la Trobeview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

de Mole Fannyview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Charlsley Fanny Anneview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Walker Annieview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Rowan Ellisview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Buvelot Louis print afterview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Ford William print afterview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Gully John print afterview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Folingsby George print afterview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Lang Ludwigview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Mason Walter George extensive informationview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Balcombe Thomas print after and lithographerview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Winstanley Edward print afterview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

de Gruchy & Leighview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Woodhouse Frederick print after and lithographerview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Duke Williamview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Hood R V printer publisherview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Woodhouse Herbertview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Broad Alfred Scottview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Terry F Cview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Garling Frederick print afterview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Grosse Frederickview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Dodds Mrs dressmakerview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Ashton Julianview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Ashton Georgeview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Sleap S A engraverview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Curtis J W print afterview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Sands & McDougall lithographersview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Appleton F A engraverview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Schell Frederickview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Wellington F H engraverview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Bilton Louis print afterview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Smedley William Thomasview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Fitler W C print afterview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Pettit F engraverview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Collingridge Georgeview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Collingridge Arthurview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Gow James photographer print afterview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Osborne John Walterview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Bardwell William H photographer print afterview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Niven F W & Co lithographersview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Niven F W & Co lithographersview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

F W Niven & Co lithographersview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Noone John photo lithographerview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Phillip-Stephan photo litho view full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Caire Nicholas photographer print afterview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Woodbury Walter photographer print afterview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Kahler Carl print afterview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Goupil & Cie photo engraver and printerview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Roberts Tom print afterview full entry

Reference: see Printed - images in Colonial Australia 1801 - 1901, by Roger Butler. Includes index. Bibliography: p. 280 - 284. Includes some biographical information on artists within text. Artists whose works are illustrated have been included in this Index.[Publication coincided with exhibition 30 March to 3 June 2007 at the National Gallery of Australia titled The Story of Australian Printmaking 1801- 2005. The exhibition featured works from 1801 to the present and included illustrated books, posters, artists' prints and billboard sized political posters.]
Publishing details: NGA, 2007, hc, dw, 294pp, review inserted

Douzette Louis view full entry

Reference: see Saturday 27 Nov., 2021, auction, Germany, Auktionshaus Stahl, lot 491: Louis Douzette (Tribsees 1834 - Barth 1924). Small Harbour in Moonlight.

Oil/wood, 15 x 24 cm, lo. ri. sign. L. Douzette. - German landscape and marine painter. D. studied at the Berlin academy under H. Eschke. He travelled Sweden, among others to witness a solar eclipse. He specialized in moonlit landscapes. He was awarded gold medals in Berlin and Melbourne in 1886 and 1888. In 1896 he became professor in Berlin, in 1910 he was made honorary citizen of Barth. Mus.: Berlin, Breslau, Dresden, Baden-Baden, Rostock, Moscow, Prague, Sydney a. others. Lit.: Thieme-Becker, Vollmer, Bénézit a. others.

GEELONG MECHANICS’ INSTITUTE EXHIBITION view full entry

Reference: GEELONG MECHANICS’ INSTITUTE EXHIBITION . . . 1857. Catalogue. The 512 exhibits included von Guerard’s ‘Hobart Town from Kangaroo Flat’ (which was for sale), some 40 named works by Ludwig Becker, ‘ A native group’ by Robert Dowling, etc. [To be indexed]
Publishing details: Geelong, 1857. Octavo. Pp. 24, [viii, advertisements]; original orange printed wrapper (back one lacking). Some staining.
Very rare: Trove records only the SLV copy.
Ref: 1000

Becker Ludwigview full entry

Reference: see GEELONG MECHANICS’ INSTITUTE EXHIBITION . . . 1857. Catalogue. The 512 exhibits included von Guerard’s ‘Hobart Town from Kangaroo Flat’ (which was for sale), some 40 named works by Ludwig Becker, ‘ A native group’ by Robert Dowling, etc.
Publishing details: Geelong, 1857. Octavo. Pp. 24, [viii, advertisements]; original orange printed wrapper (back one lacking). Some staining.
Very rare: Trove records only the SLV copy.

von Guerard Eugeneview full entry

Reference: see GEELONG MECHANICS’ INSTITUTE EXHIBITION . . . 1857. Catalogue. The 512 exhibits included von Guerard’s ‘Hobart Town from Kangaroo Flat’ (which was for sale), some 40 named works by Ludwig Becker, ‘ A native group’ by Robert Dowling, etc.
Publishing details: Geelong, 1857. Octavo. Pp. 24, [viii, advertisements]; original orange printed wrapper (back one lacking). Some staining.
Very rare: Trove records only the SLV copy.

Linke Simonview full entry

Reference: see Karl & Faber auction, December 8, 2021, Munich, Germany, 4 works:
including
Oil and pencil on canvas. (2011). C. 61 x 61 cm.
Artist or Maker
Simon Linke (1958 Benalla (Australien))
Exhibited
Simon Linke, Untitled (Portraits), Galerie Karsten Schubert, London 2012, mit farb. Abb. S. 23.
Provenance
Privatsammlung, London.
Notes
Öl und Bleistift auf Leinwand. (2011). Ca. 61 x 61 cm.
and
Oil and pencil on canvas. (2011). C. 61 x 61 cm.
Artist or Maker
Simon Linke (1958 Benalla (Australien))
Exhibited
Simon Linke, Untitled (Portraits), Galerie Karsten Schubert, London 2012, mit farb. Abb. S. 31.
Provenance
Privatsammlung, London.
Notes
Öl und Bleistift auf Leinwand. (2011). Ca. 61 x 61 cm.
and
Oil and pencil on canvas. (2011). C. 61 x 61 cm.
Artist or Maker
Simon Linke (1958 Benalla (Australien))
Exhibited
Simon Linke, Untitled (Portraits), Galerie Karsten Schubert, London 2012, mit farb. Abb. S. 15.
Provenance
Privatsammlung, London.
Notes
Öl und Bleistift auf Leinwand. (2011). Ca. 61 x 61 cm.
and
Oil and pencil on canvas. (2011). C. 61 x 61 cm.
Artist or Maker
Simon Linke (1958 Benalla (Australien))
Exhibited
Simon Linke, Untitled (Portraits), Galerie Karsten Schubert, London 2012, mit farb. Abb. S. 29.
Provenance
Privatsammlung, London.
Notes
Öl und Bleistift auf Leinwand. (2011). Ca. 61 x 61 cm.

Macky Eric Spencerview full entry

Reference: see Wikipedia, the free encyclopedia:
Eric Spencer Macky
Born November 16, 1880
Ponsonby, New Zealand
Died May 5, 1958 (aged 77)
San Francisco, California, U.S.
Other names Spencer Macky,
E. Spencer Macky
Education Elam Art School, National Gallery of Victoria Art School, Académie Julian
Spouse(s) Constance Lillian Jenkins (m. 1912–1958; death)
Children 2

Mother and Child (1916, cropped) by Eric Spencer Macky
Eric Spencer Macky, also known simply as Spencer Macky (1880–1958) was a New Zealand-born American painter, intaglio printmaker, and educator.[1][2] He was known for his landscape paintings and scenes of San Francisco.[3]
Eric Spencer Macky was born November 16, 1880 in Ponsonby[4] near Auckland, New Zealand.[5][6] He was interested in art at a young age and by age 14, he was attending the Elam Art School on a scholarship and studied under C. F. Goldie.[7][3][5] From 1903 to 1906, Macky attended National Gallery of Victoria Art School (formally National Gallery School of Painting) studying under Lindsay Bernard Hall;[6] and continued studies in 1907 at Académie Julian in Paris under Jean-Paul Laurens.[1]
He arrived in the San Francisco Bay Area between 1910 to 1912.[1][6][2] He taught at California School of Arts and Crafts (now known as California College of the Arts) from 1913 to 1921; University of California, Berkeley; and he was the Dean of California School of Fine Arts (now known as San Francisco Art Institute) from 1919 until 1935.[1] He had notable students including Robert Boardman Howard,[8] George Post,[9] and John Melville Kelly.
Eric Spencer Macky and his spouse Constance founded in 1916, the Spencer Macky Art School in San Francisco.[10] The first location of the school was at Post Street, near Gough Street in a building that housed many other notable artists including Leo Lentelli, Clark Hobart, William Claussen, Louise Mahoney, Florence Lundberg, Sigmund Beel, and George Hyde.[11] The school was popular and moved to a larger space at the "Artists Building" at 535 Sacramento Street in San Francisco.[11] By 1917, the Spencer Macky Art School was merged with the California School of Fine Arts (CSFA; now known as the San Francisco Art Institute).[11]
Macky was married to Constance Lillian Jenkins in 1912 in Berkeley, California.[12] They had two sons, their son, Donald Spencer Macky (1913–2007) was an artist.[13][12]
Death and legacy[edit]
Macky died on May 5, 1958 in San Francisco.[6] Macky's work is included in public museum collections, including the Fine Arts Museums of San Francisco,[1] Musée d'Orsay,[14] Seattle Art Museum,[15] and Auckland Art Gallery Toi o Tāmaki.[4]
In fall 2013, three lost murals were discovered on the campus of San Francisco Art Institute, including Spencer Mackey’s Life Drawing Class (1936) by Eleanor Bates Streloff.[16] Artist Ruth Cravath carved a bust of Macky in 1935, which is now part of the collection at the San Francisco Museum of Modern Art.[17]
References[edit]
1 ^ Jump up to:  a b c d e "Eric Spencer Macky". FAMSF Search the Collections. 2018-09-21. Retrieved 2021-07-25.
2 ^ Jump up to:  a b "Reminiscences of Eric Spencer and Constance Macky : oral history transcript / and related material, 1954-1957". Online Archive of California (OAC). 1954. Retrieved 2021-07-25.
3 ^ Jump up to:  a b "Eric Spencer Macky - Biography". AskArt.com. Retrieved 2021-07-25.
4 ^ Jump up to:  a b "Eric Macky". Auckland Art Gallery. Retrieved 2021-07-25.
5 ^ Jump up to:  a b Hughes, Edan Milton. "Artists in California, 1786-1940".
6 ^ Jump up to:  a b c d "Eric Spencer Macky (1880 – 1958)". California Art Research Archive. The Bancroft Library, University of California, Berkeley. 2014-04-07. Retrieved 2021-07-25.
7 ^ Julius, Harry (1919). "E. Spencer Macky". In Smith, Sydney Ure; Stevens, Bertram; Jones, C. Lloyd (eds.). Art in Australia. 6. Anthony Horderon and Sons, Ltd. Sydney, Australia: Argus and Robertson, Limited. p. 39.
8 ^ Opitz, Glenn B., ed. (1986). Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers. Poughkeepsie, NY: Apollo. ISBN 978-0-938290-04-9.
9 ^ McClelland, Gordon T.; Last, Jay T. (2002). California Watercolors 1850-1970. Hillcrest Press, Inc. – via CalArt.com.
10 ^ Hailey, Gene; Schwartz, Ellen Halteman, eds. (1937). California Art Research (PDF). Series 1, W.P.A. Project 2874. Volume 15. San Francisco, California (published 1987). pp. 99–118. ISBN 0-910938-88-1.
11 ^ Jump up to:  a b c Hailey, Gene; Schwartz, Ellen Halteman, eds. (1937). California Art Research (PDF). Series 1, W.P.A. Project 2874. Volume 15. San Francisco, California (published 1987). pp. 99–118. ISBN 0-910938-88-1.
12 ^ Jump up to:  a b Hailey, Gene; Schwartz, Ellen Halteman, eds. (1937). California Art Research (PDF). Series 1, W.P.A. Project 2874. Volume 15. San Francisco, California (published 1987). pp. 99–118. ISBN 0-910938-88-1.
13 ^ "Donald Macky". Napa Valley Register. Retrieved 2021-07-25.
14 ^ "Eric Spencer Macky". Musée d'Orsay: Notice d'Artiste. Retrieved 2021-07-25.
15 ^ "Spencer Macky". Seattle Art Museum. Retrieved 2021-07-25.
16 ^ "Lost Fresco From 1930 Uncovered at San Francisco Art Institute". 7x7 Bay Area. 2015-08-31. Retrieved 2021-07-25.
17 ^ "Head of E. Spencer Macky". SFMOMA. Retrieved 2021-07-25.

Macky Constance Jenkins view full entry

Reference: see Wikipedia, the free encyclopedia:
Eric Spencer Macky
Born November 16, 1880
Ponsonby, New Zealand
Died May 5, 1958 (aged 77)
San Francisco, California, U.S.
Other names Spencer Macky,
E. Spencer Macky
Education Elam Art School, National Gallery of Victoria Art School, Académie Julian
Spouse(s) Constance Lillian Jenkins (m. 1912–1958; death)
Children 2

Mother and Child (1916, cropped) by Eric Spencer Macky
Eric Spencer Macky, also known simply as Spencer Macky (1880–1958) was a New Zealand-born American painter, intaglio printmaker, and educator.[1][2] He was known for his landscape paintings and scenes of San Francisco.[3]
Eric Spencer Macky was born November 16, 1880 in Ponsonby[4] near Auckland, New Zealand.[5][6] He was interested in art at a young age and by age 14, he was attending the Elam Art School on a scholarship and studied under C. F. Goldie.[7][3][5] From 1903 to 1906, Macky attended National Gallery of Victoria Art School (formally National Gallery School of Painting) studying under Lindsay Bernard Hall;[6] and continued studies in 1907 at Académie Julian in Paris under Jean-Paul Laurens.[1]
He arrived in the San Francisco Bay Area between 1910 to 1912.[1][6][2] He taught at California School of Arts and Crafts (now known as California College of the Arts) from 1913 to 1921; University of California, Berkeley; and he was the Dean of California School of Fine Arts (now known as San Francisco Art Institute) from 1919 until 1935.[1] He had notable students including Robert Boardman Howard,[8] George Post,[9] and John Melville Kelly.
Eric Spencer Macky and his spouse Constance founded in 1916, the Spencer Macky Art School in San Francisco.[10] The first location of the school was at Post Street, near Gough Street in a building that housed many other notable artists including Leo Lentelli, Clark Hobart, William Claussen, Louise Mahoney, Florence Lundberg, Sigmund Beel, and George Hyde.[11] The school was popular and moved to a larger space at the "Artists Building" at 535 Sacramento Street in San Francisco.[11] By 1917, the Spencer Macky Art School was merged with the California School of Fine Arts (CSFA; now known as the San Francisco Art Institute).[11]
Macky was married to Constance Lillian Jenkins in 1912 in Berkeley, California.[12] They had two sons, their son, Donald Spencer Macky (1913–2007) was an artist.[13][12]
Death and legacy[edit]
Macky died on May 5, 1958 in San Francisco.[6] Macky's work is included in public museum collections, including the Fine Arts Museums of San Francisco,[1] Musée d'Orsay,[14] Seattle Art Museum,[15] and Auckland Art Gallery Toi o Tāmaki.[4]
In fall 2013, three lost murals were discovered on the campus of San Francisco Art Institute, including Spencer Mackey’s Life Drawing Class (1936) by Eleanor Bates Streloff.[16] Artist Ruth Cravath carved a bust of Macky in 1935, which is now part of the collection at the San Francisco Museum of Modern Art.[17]
References[edit]
1 ^ Jump up to:  a b c d e "Eric Spencer Macky". FAMSF Search the Collections. 2018-09-21. Retrieved 2021-07-25.
2 ^ Jump up to:  a b "Reminiscences of Eric Spencer and Constance Macky : oral history transcript / and related material, 1954-1957". Online Archive of California (OAC). 1954. Retrieved 2021-07-25.
3 ^ Jump up to:  a b "Eric Spencer Macky - Biography". AskArt.com. Retrieved 2021-07-25.
4 ^ Jump up to:  a b "Eric Macky". Auckland Art Gallery. Retrieved 2021-07-25.
5 ^ Jump up to:  a b Hughes, Edan Milton. "Artists in California, 1786-1940".
6 ^ Jump up to:  a b c d "Eric Spencer Macky (1880 – 1958)". California Art Research Archive. The Bancroft Library, University of California, Berkeley. 2014-04-07. Retrieved 2021-07-25.
7 ^ Julius, Harry (1919). "E. Spencer Macky". In Smith, Sydney Ure; Stevens, Bertram; Jones, C. Lloyd (eds.). Art in Australia. 6. Anthony Horderon and Sons, Ltd. Sydney, Australia: Argus and Robertson, Limited. p. 39.
8 ^ Opitz, Glenn B., ed. (1986). Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers. Poughkeepsie, NY: Apollo. ISBN 978-0-938290-04-9.
9 ^ McClelland, Gordon T.; Last, Jay T. (2002). California Watercolors 1850-1970. Hillcrest Press, Inc. – via CalArt.com.
10 ^ Hailey, Gene; Schwartz, Ellen Halteman, eds. (1937). California Art Research (PDF). Series 1, W.P.A. Project 2874. Volume 15. San Francisco, California (published 1987). pp. 99–118. ISBN 0-910938-88-1.
11 ^ Jump up to:  a b c Hailey, Gene; Schwartz, Ellen Halteman, eds. (1937). California Art Research (PDF). Series 1, W.P.A. Project 2874. Volume 15. San Francisco, California (published 1987). pp. 99–118. ISBN 0-910938-88-1.
12 ^ Jump up to:  a b Hailey, Gene; Schwartz, Ellen Halteman, eds. (1937). California Art Research (PDF). Series 1, W.P.A. Project 2874. Volume 15. San Francisco, California (published 1987). pp. 99–118. ISBN 0-910938-88-1.
13 ^ "Donald Macky". Napa Valley Register. Retrieved 2021-07-25.
14 ^ "Eric Spencer Macky". Musée d'Orsay: Notice d'Artiste. Retrieved 2021-07-25.
15 ^ "Spencer Macky". Seattle Art Museum. Retrieved 2021-07-25.
16 ^ "Lost Fresco From 1930 Uncovered at San Francisco Art Institute". 7x7 Bay Area. 2015-08-31. Retrieved 2021-07-25.
17 ^ "Head of E. Spencer Macky". SFMOMA. Retrieved 2021-07-25.

Macky Constance Jenkins view full entry

Reference: see see Wikipedia, the free encyclopedia:
Constance Jenkins Macky (née Constance Lillian Jenkins; 1883–1961)[1][2] was an Australian-born American artist and teacher. She was known for her portraits, landscape paintings, and still life paintings.
Biography[edit]
Constance Lillian Jenkins was born June 29, 1883 in Melbourne, Victoria, Australia.[3] Her parents were Emma Wright and John S. Jenkins, her father was of Scottish descent.[3] She was the youngest of six children, and began to study art seriously at age 15.[3] Macky attended the National Gallery of Victoria Art School (formally National Gallery School of Painting), from 1900 to 1908 and then studied at the Académie Julian in Paris during 1909.[3]
In 1912, Jenkins married Eric Spencer Macky in Berkeley, California.[3] They had two sons, including Donald Spencer Macky (1913–2007) who was also an artist.[3][4] In 1915, the Macky's both participated in the Panama–Pacific International Exposition, creating decorative panels for the Australian and New Zealand Buildings.[3]
Constance Jenkins Macky and her spouse founded the Spencer Macky Art School in San Francisco in 1916.[3] The first location of the school was at Post Street, near Gough Street in a building that housed many other notable artists including Leo Lentelli, Clark Hobart, William Claussen, Louise Mahoney, Florence Lundberg, Sigmund Beel, and George Hyde.[3] The school was popular and moved to a larger space at the "Artists Building" at 535 Sacramento Street in San Francisco.[3] By 1917, the Spencer Macky Art School was merged with the California School of Fine Arts (CSFA; now known as the San Francisco Art Institute).[3] After the merge she continued to teach classes at CSFA.[3]
She was a member of the San Francisco Art Association, and the California Society of Women Artists.[3]
Death and legacy[edit]
Macky died on November 17, 1961 in San Francisco.[2] She is buried in the Sunset View Cemetery in El Cerrito, California. Macky's work is included in public collections including the National Gallery of Victoria,[5] the National Library of Australia,[6] and others.
References[edit]
1 ^ Jump up to:  a b c d "Constance Lillian Jenkins". Design and Art Australia Online (DAAO). Retrieved 2021-07-26.
2 ^ Jump up to:  a b Hughes, Edan Milton (1986). Artists in California, 1786-1940. Hughes Publishing Company. p. 290. ISBN 978-0-9616112-0-0.
3 ^ Jump up to:  a b c d e f g h i j k l m Hailey, Gene; Schwartz, Ellen Halteman, eds. (1937). California Art Research (PDF). Series 1, W.P.A. Project 2874. Volume 15. San Francisco, California (published 1987). pp. 99–118. ISBN 0-910938-88-1.
4 ^ "Donald Macky". Napa Valley Register. Retrieved 2021-07-27.
5 ^ "Constance L. Jenkins". NGV.
6 ^ "Jenkins, Constance Lillian (1883-1961)". Trove, National Library of Australia. Retrieved 2021-07-26.

Menpes Mortimerview full entry

Reference: see Japonisme in Britain: Whistler, Menpes, Henry, Hornel and Nineteenth-Century. By Ayako Ono.
[Japan held a profound fascination for Western artists in the latter half of the nineteenth century. The influence of Japanese art is a phenomenon that is now called "Japonisme," and it spread widely throughout Western art. Artists introduced Japanese objects and details from Japanese art into their work. They assimilated elements of Japanese art and from these they formed their own style: it was an immense source of inspiration for European artists such as Claude Monet.
This book explores Japanese influences on British Art and focus on four artists working in Britain: the American James McNeill Whistler (1834-1903), the Australian Mortimer Menpes (1855-1938), and two artists from the group known as the Glasgow Boys, George Henry (1858-1934) and Edward Atkinson Hornel (1864-1933). Whistler was one of the earliest figures to incorporate Japanese elements into his art, but he never visited Japan. Menpes visited the country and learned Japanese artistic methods from a Japanese artist, whilst Henry and Hornel visited Japan and responded to Japanese photography mass-produced for foreign market.
Just at the time Europe started to find inspiration in Japanese art, European civilization surged into Japan. The opening of Japan was a process of major political, economic and social change that took place rapidly after the arrival of Commodore Perry in 1854. Learning Western art was considered part of the modernization of Japan, which eventually lead to the establishment of new genre, "Yoga," Ono examines this symmetry in this timely volume, to be published in the centenary year of Whistler's death.’]
Publishing details: Taylor & Francis Ltd, 2003, 276pp

Japonisme in Britain: Whistler, Menpes, Henry, Hornel and Nineteenth-Centuryview full entry

Reference: Japonisme in Britain: Whistler, Menpes, Henry, Hornel and Nineteenth-Century. By Ayako Ono.
[Japan held a profound fascination for Western artists in the latter half of the nineteenth century. The influence of Japanese art is a phenomenon that is now called "Japonisme," and it spread widely throughout Western art. Artists introduced Japanese objects and details from Japanese art into their work. They assimilated elements of Japanese art and from these they formed their own style: it was an immense source of inspiration for European artists such as Claude Monet.
This book explores Japanese influences on British Art and focus on four artists working in Britain: the American James McNeill Whistler (1834-1903), the Australian Mortimer Menpes (1855-1938), and two artists from the group known as the Glasgow Boys, George Henry (1858-1934) and Edward Atkinson Hornel (1864-1933). Whistler was one of the earliest figures to incorporate Japanese elements into his art, but he never visited Japan. Menpes visited the country and learned Japanese artistic methods from a Japanese artist, whilst Henry and Hornel visited Japan and responded to Japanese photography mass-produced for foreign market.
Just at the time Europe started to find inspiration in Japanese art, European civilization surged into Japan. The opening of Japan was a process of major political, economic and social change that took place rapidly after the arrival of Commodore Perry in 1854. Learning Western art was considered part of the modernization of Japan, which eventually lead to the establishment of new genre, "Yoga," Ono examines this symmetry in this timely volume, to be published in the centenary year of Whistler's death.’]
Publishing details: Taylor & Francis Ltd, 2003, 276pp
Ref: 1000

Christie’s London (Australian)view full entry

Reference: Christie’s London - Modern and Contemporary Australian and South African Art
Publishing details: 12 December, 2007,
Ref: 143

Streeton Arthur Greave’s Farm - essayview full entry

Reference: see Christie’s London - Modern and Contemporary Australian and South African Art
Publishing details: 12 December, 2007,

Russell John Peter 5 works brief essayview full entry

Reference: see Christie’s London - Modern and Contemporary Australian and South African Art
Publishing details: 12 December, 2007,

Ashton Julian Summer Holidays 1877 brief essayview full entry

Reference: see Christie’s London - Modern and Contemporary Australian and South African Art
Publishing details: 12 December, 2007,

McCubbin Frederick Sawing Timber brief essayview full entry

Reference: see Christie’s London - Modern and Contemporary Australian and South African Art
Publishing details: 12 December, 2007,

Perceval John The Rosstown Pub brief essayview full entry

Reference: see Christie’s London - Modern and Contemporary Australian and South African Art
Publishing details: 12 December, 2007,

Blackman Charles The Sleeping Schoolgirl and Alice among flowers brief essaysview full entry

Reference: see Christie’s London - Modern and Contemporary Australian and South African Art
Publishing details: 12 December, 2007,

Nolan Sid numerous works and essayview full entry

Reference: see Christie’s London - Modern and Contemporary Australian and South African Art
Publishing details: 12 December, 2007,

Williams Fred a number of works and essayview full entry

Reference: see Christie’s London - Modern and Contemporary Australian and South African Art
Publishing details: 12 December, 2007,

Olsen John a number of works and essayview full entry

Reference: see Christie’s London - Modern and Contemporary Australian and South African Art
Publishing details: 12 December, 2007,

Christie’s London (Australian)view full entry

Reference: Christie’s London - Australian Art
Publishing details: 24 September, 2015
Ref: 143

Ashton Julian a Short Cut 1876 with essay and anotherview full entry

Reference: see Christie’s London - Australian Art
Publishing details: 24 September, 2015

Roberts a number of works with essaysview full entry

Reference: see Christie’s London - Australian Art
Publishing details: 24 September, 2015

Streeton Arthur Greave’s Farm - essayview full entry

Reference: see Christie’s London - Australian Art
Publishing details: 24 September, 2015

Russell John Peter 5 works with essayview full entry

Reference: see Christie’s London - Australian Art
Publishing details: 24 September, 2015

Bunny Rupert the drought c1895 with brief essayview full entry

Reference: see Christie’s London - Australian Art
Publishing details: 24 September, 2015

Webb A B The Hills with brief essay and works on paperview full entry

Reference: see Christie’s London - Australian Art
Publishing details: 24 September, 2015

Wakelin Roland Wet Road 1924 with brief essay and 5 othersview full entry

Reference: see Christie’s London - Australian Art
Publishing details: 24 September, 2015

Lewis Aletta Hot Night 1927 with essay view full entry

Reference: see Christie’s, London, 24 September, 2015, - Australian Art.
Hot Night, 1927
Oil on canvas, signed and dated 'Aletta Lewis '27' lower right, signed with initials (?) 'AL' on the stretcher, 71 x 76.2 cm, Est: GBP8,000-10,000, Christies, Australian Art, London, 24/09/2015, Lot No. 48
Provenance: With The Fine Arts Society, Nov. 1970 (stock 4828). Anon. sale, Christie's, London, 19 Oct. 1979, lot 189 (as Roof-top Apparition, unsold). Private collection, London.

Exhibited: Sydney, The Society of Artists Annual Exhibition, Sept.-Oct., 1927. possibly London, New English Art Club, 1929 ('Last year she showed at the New English Art Cub her picture 'Hot Night,' which had previously been seen in Sydney.' A.J.L. McDonnell, 'The Samoan Pictures of Aletta Lewis', Art in Australia, March 1930, Series 3, no.31).

Literature: Sydney Morning Herald, 9 Sept. 1927 ('Miss Aletta Lewis, whose oil painting 'Hot Night', a group of sleepers on the roofs, and 'Procession', a street pageant seen from a balcony, are distinctly modern in style.');'Table Talk of the Week' Table Talk, Melbourne, 15 Sept. 1927, p.6. Arts and Artists', The Brisbane Courier, 24 Sept 1927, p.22. A.J.L. McDonnell, 'The Samoan Pictures of Aletta Lewis', Art in Australia, March 1930, Series 3, no.31.

Other Notes: Determined to be modern and arresting at all costs is a section of the Society of Artists which is represented in the present show, opened in Sydney on September 10. There is some exceedingly eccentric work—of the type notorious in certain European galleries but rejected by the saner schools. The high priestess of the cult in Sydney would seem, to be Miss Aletta Lewis, who is a Slade student. Her contributions to the present show are many, but her masterpiece is called 'Hot Night.' It looks hot, in fact it might have been painted from the roof of the traditional Hades, where ugly, misshapen humans and devils sprawl around in colorful and 'cubey' profusion—or else it is a nightmare induced by a violent attack of 'flu.' ('Table Talk of the Week' Table Talk, Melbourne, 15 Sept. 1927, p.6). Lewis's work has largely disappeared. This is her most notorious painting, Hot Night, exhibited in 1927 with The Society of Artists in Sydney, which Home described as 'the sensation of the exhibition', it is known only from a black-and-white photograph in Design and Art Australia online. .. Painter, illustrator and writer, [Lewis was] born in Orpington, Kent, on 5 July 1904, daughter of Guilford Lewis, solicitor. She was educated at Bedales, Hampshire, and trained at the Slade School, London, where she held a scholarship and, while still in England, she exhibited at the New English Art Club. Lewis spent her most exciting period as a young artist in Australia, coming to work in Sydney in 1927 at the age of twenty-three. She immediately became closely involved with Julian Ashton's Sydney Art School, teaching there three days a week until 1929. Her modern art training in London reflected in the linear and design quality of her work influenced the local art scene, both through her teaching and as a regular exhibitor in leading shows. She took part in the Second Exhibition of Modern Art at the Grosvenor Gallery in 1927 – a Contemporary Group show – and exhibited portraits and landscapes with the NSW Society of Artists in 1927-29 and two portraits in the Archibald Prize for 1928..' (Design and Art Australia online). Lewis returned to England in 1930 after painting in Samoa and in Ceylon. She exhibited with Roy de Maistre in Paris in 1931, and married the English sculptor Denis Dunlop. Her career was curtailed due to ill health following the birth of her child in 1942.
Publishing details: Christie’s, London, 24 September, 2015

Boyd Arthur a number of works with essay view full entry

Reference: see Christie’s London - Australian Art
Publishing details: 24 September, 2015

Blackman Charles Girl Reading c1954 with essay view full entry

Reference: see Christie’s London - Australian Art
Publishing details: 24 September, 2015

Pownell George Hydeview full entry

Reference: see GALERIE BASSENGE auction, 1-2 December, 2021, Berlin, lot 6199: Illuminated Piccadilly Circus in the evening.
Oil on cardboard. 15.1 x 23.5 cm. Signed "Geo. Hyde." Lower left. as well as with the gallery label "W. L. Schmidt" from Sydney on the reverse.

Moje Klausview full entry

Reference: Glass - The life and art of Klaus Moje. [’'It is always based on what I see, what is touching me.’
For more than fifty years, Klaus Moje devoted his life to the art of glass. He called it the ‘most seductive’ medium, and in his hands it had the power to delight and amaze collectors around the world. His lifetime’s work changed the practice and appreciation of contemporary glass.

Moje’s philosophy of ‘working into the hopeful’ and his passion for the colour and geometry he saw in the natural world shone through his kilnformed glass works, a technique he pioneered.

Moje was both artist and educator. After an apprenticeship in his father’s small glass-cutting and glass-grinding business and a masters degree at the Glasfachschule Hadamar, Moje established his Hamburg studio. In 1982, he moved to Australia to set up the Glass Workshop at the Canberra School of Art, one of the most successful glass education programs in the world. Following 10 years teaching, Moje returned to full-time studio work. His life and art inspired many who chose to work with this medium.

In Glass: The life and art of Klaus Moje, art historian Nola Anderson celebrates the creativity and artistic spirit of this remarkable artist.’]
Publishing details: NewSouth Publishing, 2021, hc.
Ref: 1000

Smart Jeffreyview full entry

Reference: Jeffrey Smart. Recent Paintings. John McDonald (essay).
Publishing details: Philip Bacon Galleries, 2001
Used - Very Good: Brisbane: Philip Bacon Galleries, 2001. 24pp, 32 col ills.
Ref: 1000

Smart Jeffreyview full entry

Reference: JEFFREY SMART - PAINTINGS AND STUDIES 1993 - 1998
Publishing details: Australian Galleries. Paperback, 1998, 24 pages,
Ref: 1000

Dridan Davidview full entry

Reference: see Australiana Society - SA Australiana Study Group 71st Meeting, 4 November 2021: Painting “Mundoo Island”, oils on Masonite, David Dridan, S.A. c1988. 44 x 59.5 cm.
The peaceful rural scene with water-birds foraging in the middle distance shows part of the privately owned island, which lies at the southern end of Lake Alexandrina close to the mouth of the Murray, adjacent to the Coorong, and about 82 kilometres from Adelaide. Home to Mundoo Station, a sheep and cattle property and eco-tourism venture, it is recognized as part of an important Ramsar wetland complex.
David Dridan was born in Adelaide in 1932, and after initial education at Renmark Town School went on to St Peter’s College in Adelaide. Studies at the SA School of Art under Jacqueline Hick and Joseph Choate were followed by attending the National Art School in Sydney, and then the East Sydney Technical College in 1956, where he received encouragement from Russell Drysdale, who became a lifelong friend.
A grant from the British Council in 1961 enabled him to study gallery administration at the V&A Museum and allied London institutions. On returning to Australia Dridan was a curator at the Art Gallery of SA from 1962-64, and then from 1964-68 took the position of Senior Art Master at his old school, St Peter’s College. A full time professional artist from 1968, his work is now widely distributed in public and private collections around the world. For his services to arts and the community Dridan was awarded an Order of Australia in 2007.

Gill H Pview full entry

Reference: see Australiana Society - SA Australiana Study Group 71st Meeting, 4 November 2021: H.P.Gill. The Cradle of the Torrens, 1890, watercolour. 25 x 22.5 cm visible.
This painting was part of the Exhibition of British Art arranged by the Anglo-Australian Society of Artists in 1890. The exhibition was shown in Sydney and Melbourne before being mounted in the Jubilee Building in Adelaide. Over 30000 people viewed the exhibition across the three colonies. The title refers to the form and is also a play on the prominent rock in the composition.
Harry Pelling Gill was born in 1855 at Brighton, Surrey to a merchant family. He grew up on a high street full of artisans and attended the local Grammar School. As a young adult, he worked for a solicitor during the day but at night, attended Brighton School of Art, eventually ending up on staff. He completed his Art Masters certificates at the South Kensington School of Science and Art and then took up the position of Director of the School of Design in Adelaide, on North Terrace. H.P. Gill married Annie Waring Wright in 1886 at Christ
9
Church, North Adelaide. She was one of his former students and well connected in Adelaide Society. They lived in LeFevre Terrace, North Adelaide. The Gills had three sons, only one of whom outlived his parents. At the time this watercolour sketch was executed, the Gills had a small child at home.
When mentioned today, H.P.Gill is without exception cited as the “influential H.P. Gill,” a cliche that is entirely accurate. As soon as he arrived in Adelaide, he threw himself into work at the School of Design and he was remarkably proactive. It is hard to believe Gill had time to paint himself but he kept up his own practise and specialised in delicate and accurate watercolours, many of which were landscapes. His wife reported that he was always industrious and never went anywhere on official business or recreation without his watercolour equipment.
A contemporary account from a former pupil describes an outdoor sketching session in which a workman stopped to admire H.P.Gill’s election of a stone wall. The man remarked how accurate it was and that he knew every stone having built it himself.
H.P.Gill often suffered through ill health and in 1916, he died at sea between Marseilles and Gibraltar on his way home to the U.K. His career is remembered by the annual H.P. Gill medal.

Solomon Saul photographerview full entry

Reference: see Australiana Society - SA Australiana Study Group 71st Meeting, 4 November 2021: "Aboriginal man with spear and woomera", 1875(?), carte de visite photograph, Saul Solomon, Adelaide. 10 x 6 cm
Likely showing the influence of JW Lindt's landmark "Australian Aboriginals" series (1873-74), this possibly 1875, Adelaide photograph, shows a constructed bush scene of rock, timber and scrub. The man, cloaked in kangaroo hides, holds a woomera and spear aloft as if for throwing.
A companion carte de visite (SA Museum collection) features a woman and child in the same setting but with the unlikely addition of a Pacific Islands sword club. Such cartes de visite (as well as street scenes of Adelaide) were produced as documentary souvenirs and were easily included in letters back 'home'. In excess of one hundred were likely taken by the various Adelaide studios but none seemed to have been produced in large numbers. A few dozen portraits are known to survive - often from a single copy. Sitter's names were rarely recorded but further research will unlock the identities of some.
In 1852, Saul Solomon, aged 16, English, and a trained daguerreotypist, joined the Australian gold rush to Victoria. In 1854 he was a store owner in Ballarat, and by 1857 was again a photographer. From 1862-67 the business of Solomon & Bardwell, located opposite the Theatre Royal, was Ballarat's premier photographic salon. Following his marriage he moved to Adelaide and became manager of Townsend Duryea's Rundle Street studio. In 1875 he bought the business. Some evidence tentatively suggests the Solomon imprint verso could be the initial (and short-lived) design for the new studio. If so, it dates the carte de visite to July / August 1875.

Smart Jeffreyview full entry

Reference: see Sydney Morning Herald, Spectrum, p6-7, article by John McDonald on upcoming exhibition at the National Gallery of Australiaa, 11 December - 15 May, 2021.

Smart Jeffreyview full entry

Reference: Jeffrey Smart, by Deborah Hart and Rebecca Edwards, catalogue of the exhibition at the National Gallery of Australia, 11 December - 15 May, 2021. [’The year 2021 marks the centenary of the birth of Australian artist Jeffrey Smart, an artist with a distinctive vision whose work enables us to see the world around us afresh. This publication celebrates and commemorates this significant anniversary. Launched to coincide with a major exhibition of Smartâs work at the National Gallery of Australia, it is a book to be treasured in its own right. With a career spanning more than seven decades, Smart has made an impact on generations of artists and art lovers. Jeffrey Smart draws together a diverse range of voices including curators, art historians, artists, and those who knew the artist personally, to respond to his work and reflect on his legacy. Major essays explore his interest in figuration and abstraction, while focus essays survey some of the most memorable works that Smart produced across his long career. Reflective essays by friends such as filmmaker Bruce Beresford and novelist and poet David Malouf provide personal insights into Smartâs life, both in Australia and Italy where he lived from 1964 until his death in 2013. Bringing new perspectives to his artistic practice, Jeffrey Smart is a long-lasting record of the contribution of one of Australia's most celebrated and beloved artists. ‘]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards, pp. 180, extensively illustrated.

Potteryview full entry

Reference: see Australian Domestic Pottery - a collectors’ guide, by William & Dorothy Hall [to be indexed]
Publishing details: Kangaroo Press, 1992, pb, 88pp, with index

Park Sassyview full entry

Reference: see Sydney Morning Herald article 6 December, 2021, p 16, on ceramics.

view full entry

Reference:

Sydney Art Decoview full entry

Reference: Sydney Art Deco & Modernist Walks
Potts Point & Elizabeth Bay, by Peter Sheridan AM, [’The tiny 1 sq km precinct of Potts Point & Elizabeth Bay is a national treasure containing the best collection of some 100 Art Deco (1930s and 40s) & Modernist (1960s) apartment blocks in Australia.
This book provides a self-guided 2-3 hour tour of this landmark area which was Sydney’s first exclusive suburb. It still retains remnants of its 19th century glory with some nine colonial mansions, but is even more distinctive because of its 20th century Art Deco and Modernist built heritage.
Important Australian architects are represented with five beautiful Art Deco buildings by Emil Sodersten and five Modernist gems by Harry Seidler.
Potts Point and Elizabeth Bay is sited only 2 kms from the city on the harbour with beautiful parks and views. It has a village ambience and contains some of the best restaurants in Sydney’]

Publishing details: Peter Sheridan, Paperback, 2021, 194pp
Ref: 1000

Art Decoview full entry

Reference: Sydney Art Deco & Modernist Walks
Potts Point & Elizabeth Bay, by Peter Sheridan AM,

Publishing details: Peter Sheridan, Paperback

Nangan Butcher Joeview full entry

Reference: From the Bukarikara The Lore of the Southwest Kimberly through the Art of Butcher Joe Nangan, by Kim Akerman.

Publishing details: UWA Publishing, pb, 2020, 250pp
Ref: 1000

Doing Feminism view full entry

Reference: Doing Feminism Women’s Art and Feminist Criticism in Australia, by Anne Marsh. With index an bibliography. Includes biographical information on artists within texts and on some artists within separate essays. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Feminism view full entry

Reference: see Doing Feminism Womens Art and Feminist Criticism in Australia, by Anne Marsh. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Women’s artview full entry

Reference: see Doing Feminism Womens Art and Feminist Criticism in Australia, by Anne Marsh. [’Doing Feminism represents over 220 artists and groups with 370 colour illustrations punctuated by extracts from artists' statements, curatorial writing and critique. Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women's art and the ways in which it has influenced and changed the contemporary (read more)‘] Anne Marsh is a contemporary art historian and Professorial Research Fellow at Victorian College of the Arts. Before joining the University of Melbourne, she was Professor of Art History and Theory at Monash University. Her books include LOOK- Contemporary Australian Photography since 1980 (2010) and Body and Self- Performance Art in Australia, 1969-1992 (1993, 2015).
Publishing details: Melbourne University Publications, 2021, 544pp

Portrait of Molly Deanview full entry

Reference: The Portrait of Molly Dean, by Katherine Kovacic. (Fiction). ‘In 1999, art dealer Alex Clayton stumbles across a lost portrait of Molly Dean, an artist’s muse brutally slain in Melbourne in 1930. Alex buys the painting and sets out to uncover more details, but finds there are strange inconsistencies: Molly’s mother seemed unconcerned by her daughter’s violent death, the main suspect was never brought to trial despite compelling evidence, and vital records are missing. Alex enlists the help of her close friend, art conservator John Porter, and together they sift through the clues and deceptions that swirl around the last days of Molly Dean.’
Publishing details: Echo, 2018, pb, 288pp. [Filed on shelves under Colin Colahan]

Dean Molly view full entry

Reference: see The Portrait of Molly Dean, by Katherine Kovacic. (Fiction). ‘In 1999, art dealer Alex Clayton stumbles across a lost portrait of Molly Dean, an artist’s muse brutally slain in Melbourne in 1930. Alex buys the painting and sets out to uncover more details, but finds there are strange inconsistencies: Molly’s mother seemed unconcerned by her daughter’s violent death, the main suspect was never brought to trial despite compelling evidence, and vital records are missing. Alex enlists the help of her close friend, art conservator John Porter, and together they sift through the clues and deceptions that swirl around the last days of Molly Dean.’
Publishing details: Echo, 2018, pb, 288pp

Dean Molly murder p27view full entry

Reference: see Minogue James - The Drawings of Jim Minogue by Michel Jorgenson. Includes extensive biographical essay with references to the National Gallery School, Max Meldrum and other art world identities..
Publishing details: Spectrum Publications, 1989, pb, 111pp, includes errata inside back cover,inscribed by author

Spectacle of Skill Theview full entry

Reference: The Spectacle of Skill - Selected Writings of Robert Hughes, by Robert Hughes, [’“I am completely an elitist, in the cultural but emphatically not the social sense. I prefer the good to the bad, the articulate to the mumbling, the aesthetically developed to the merely primitive, and full to partial consciousness. I love the spectacle of skill, whether it’s an expert gardener at work, or a good carpenter chopping dovetails…I don’t think stupid or ill-read people are as good to be with as wise and fully literate ones. I would rather watch a great tennis player than a mediocre one…Consequently, most of the human race doesn’t matter much to me, outside the normal and necessary frame of courtesy and the obligation to respect human rights. I see no reason to squirm around apologizing for this. I am, after all, a cultural critic, and my main job is to distinguish the good from the second-rate.”
Robert Hughes wrote with brutal honesty about art, architecture, culture, religion, and himself. He translated his passions-of which there were many, both positive and negative-brilliantly, convincingly, and with vitality and immediacy, always holding himself to the same rigorous standards of skill, authenticity, and significance that he did his subjects. There never was, and never will be again, a voice like this. In this volume, that voice rings clear through a gathering of some of his most unforgettable writings, culled from nine of his most widely read and important books. This selection shows his enormous range and gives us a uniquely cohesive view of both the critic and the man.
Most revealing, and most thrilling for Hughes’s legions of fans, are the never-before-published pages from his unfinished second volume of memoirs. These last writings show Robert Hughes at the height of his powers and can be read only with pleasure and a tinge of sadness that his extraordinary voice is no longer here to educate us as well as to clarify and define our world.’]

Publishing details: Vintage, USA, 2017, 688pp
Ref: 1009

Hughes Robertview full entry

Reference: see The Spectacle of Skill - Selected Writings of Robert Hughes, by Robert Hughes, [’“I am completely an elitist, in the cultural but emphatically not the social sense. I prefer the good to the bad, the articulate to the mumbling, the aesthetically developed to the merely primitive, and full to partial consciousness. I love the spectacle of skill, whether it’s an expert gardener at work, or a good carpenter chopping dovetails…I don’t think stupid or ill-read people are as good to be with as wise and fully literate ones. I would rather watch a great tennis player than a mediocre one…Consequently, most of the human race doesn’t matter much to me, outside the normal and necessary frame of courtesy and the obligation to respect human rights. I see no reason to squirm around apologizing for this. I am, after all, a cultural critic, and my main job is to distinguish the good from the second-rate.”
Robert Hughes wrote with brutal honesty about art, architecture, culture, religion, and himself. He translated his passions-of which there were many, both positive and negative-brilliantly, convincingly, and with vitality and immediacy, always holding himself to the same rigorous standards of skill, authenticity, and significance that he did his subjects. There never was, and never will be again, a voice like this. In this volume, that voice rings clear through a gathering of some of his most unforgettable writings, culled from nine of his most widely read and important books. This selection shows his enormous range and gives us a uniquely cohesive view of both the critic and the man.
Most revealing, and most thrilling for Hughes’s legions of fans, are the never-before-published pages from his unfinished second volume of memoirs. These last writings show Robert Hughes at the height of his powers and can be read only with pleasure and a tinge of sadness that his extraordinary voice is no longer here to educate us as well as to clarify and define our world.’]

Publishing details: Vintage, USA, 2017, 688pp

Margaret Preston in Berowraview full entry

Reference: Margaret Preston in Berowra, by Rhonda Davis. Illustrated. Includes timeline. [’The first study of Margaret Preston’s life in Berowra, north of Sydney, from 1932 to 1942, fully illustrated with her woodcuts, paintings and monotypes showing that area of the Hawkesbury River. Written by the curator of the Macquarie University Art Gallery and long-time Berowra resident, this books shows the development of her artistry in thehis regional setting.’]
Publishing details: ETT, 20121, pb., 66pp

Preston Margaret view full entry

Reference: see Margaret Preston in Berowra, by Rhonda Davis. [’The first study of Margaret Preston’s life in Berowra, north of Sydney, from 1932 to 1942, fully illustrated with her woodcuts, paintings and monotypes showing that area of the Hawkesbury River. Written by the curator of the Macquarie University Art Gallery and long-time Berowra resident, this books shows the development of her artistry in thehis regional setting.’]
Publishing details: ETT, 20121, pb.

Leason Percy illustratorview full entry

Reference: The sow’s ear, by Bernard Cronin, illustrated by Percy Lindsay
Publishing details: Sydney : The Endeavour Press, 1933. Octavo, black lettered maroon cloth, dustjacket
Ref: 1000

McDonald Donaldview full entry

Reference: Panorama of Victorian scenery / Melbourne views / From original photographs by D. McDonald. [’... board with gilt-stamped lettering and decoration, containing a 12-panel accordion foldout with 12 lithographed views of Melbourne (after photographs by McDonald): Melbourne from St. Kilda Road, the Town Hall, Flinders Street looking east, the National Museum, the Public Library, Government House front view, Railway Pier Sandridge, New Government Offices, Bourke Street, the Post Office (the original 1867 version, prior to the 1887 extension), the Middle Avenue (Fitzroy Gardens), Queen’s Wharf from the South Bank of Yarra...
A very scarce Australian leporello album, unusual in that it credits the work of the original photographer – even though the images themselves are not actual photographs.
Between the second half of the 1870s and the early 1890s, Australian leporello albums in a variety of formats and with many different subjects – usually town or city views – were popular souvenirs. They were manufactured anonymously in Germany, for the colonial market. We believe this particular example – an exquisite little album of Melbourne views – was probably commissioned by Melbourne photographer Donald McDonald himself. We have dated it to around 1878 or perhaps 1879, mainly based on the conspicuous absence of any view of the Exhibition Building, on which construction was commenced in 1879, but also on the inclusion of the “New” Government Offices colpeted 1878’.] From Douglas Stewart Fine Books
Publishing details: [Printed in Germany, circa 1878]. Leporello album. Duodecimo, original green pebbled cloth over boards
Ref: 1000

Beavis Brosview full entry

Reference: W. J. NORWOOD (BATHURST) (publisher); BEAVIS BROS. (photographer)
[LEPORELLO] Album of Bathurst views. gilt (upper boards lightly marked at top edge), lower board stamped in gilt ‘The views published in this book are reproductions from photographs taken by Beavis Bros., Royal Studios, Bathurst’; containing a concertina foldout with [14] panels of with a total of [28] lithographed views of Bathurst, including general view looking south, William Street, Howick Street, George Street, public buildings and churches including All Saints Cathedral, St. Stephen’s Presbyterian and the Wesleyan Church, St. Stanislaus’ College, All Saints CollegeSuperior Public School etc.; pale water stain across the bottom edge of the foldout, otherwise in very good condition.
Rare. Trove locates only two examples (NLA; SLNSW)
Note: Beavis Bros. opened their first studio in Bathurst in William Street in 1886.
From Douglas Stewart Fine Books, 2021.
Publishing details: Bathurst, NSW : W. J. Norwood, Stationers Hall, William Street (but printed in Germany), [circa 1886]. Leporello album. Octavo, original cloth backed pictorial boards

Spurling Stephenview full entry

Reference: MOWBRAY, Richard (publisher); SPURLING, Stephen (photographer)
[LEPORELLO] Mowbray’s album of Launceston views. ‘... containing a concertina foldout with [12] panels with [12] lithographed views of Launceston and the Esk (after photographs by Stephen Spurling), including general view of Launceston from the south, the harbour, Pulpit Rock, Devil’s Punchbowl, Princes Square Fountain, view from Windmill Hill, Cataract Gorge (x2), Corra Linn, Corra Linn Bridge, South Esk Bridge, and First Basin; in superb condition.
Rare. No other example traced.’
from Douglas Stewart Fine Books, 2021
Publishing details: [Launceston, Tasmania : R. Mowbray, printer and stationer (but printed in Germany), circa 1885]. Leporello album. Oblong octavo (130 x 180 mm), original cloth-backed red pebbled cloth over boards elaborately decorated in gilt;
Ref: 1000

Henson Billview full entry

Reference: Oneiroi, foreword by John Tatoulis, essay by Peter Craven, photographic plates by Bill Henson. Printed in a limited edition of 300 copies.
Publishing details: Melbourne : Scanlan Theodore, 2016. Quarto, lettered cloth, pp. 32,
Ref: 1000

Hannan Jimview full entry

Reference: The escapades of Ann, by Edward Dyson.
Illustrations by by Jim Hannan.
Publishing details: Melbourne : The Bookstall Company, 1919. Octavo, papered boards (edges rubbed), pp. 160,
Ref: 1000

Greenway Francisview full entry

Reference: see Francis Greenway : a celebration, by Max Dupain. Introduction by J M Freeland. Photographic study of Australia’s first architect.
Publishing details: Sydney : Cassell, 1980. Quarto, boards in dustjacket, pp. 135.

Portraits of Oceaniaview full entry

Reference: Portraits of Oceania, Co-ordinating curator & editor, Judy Annear ; exhibition research & assistant curator, Wayne Tunnicliffe ; assistant co-ordinator, Silvia Velez ; photography assistant & copy editor, Robyn Donohue.
Portraits of Oceania is drawn from the collection of the Art Gallery of New South Wales and other collections in Australia and New Zealand. It is the first exhibition by an Australian art museum to look at the nature of photographic portraiture of some of the indigenous peoples of Oceania during the first fifty years of photography — Foreword.

Publishing details: Sydney, N.S.W. : The Art Gallery of New South Wales, 1997. Quarto, illustrated wrappers, pp. 122, illustrated.
Ref: 1000

Whiteley Brettview full entry

Reference: Genesis of a Painter The Early Abstractions of Brett Whiteley 29 August 1998 - 31 January 1999.
Publishing details: Sydney Brett Whiteley Studio, Art Gallery of NSW, 1999, foolscap size folded card Colour illustrated.
Ref: 1000

Humphries Barryview full entry

Reference: A 45 RPM Mono vinyl record. A Track Winding Back Barry Humphries Side One: 1) Along The Road To Gundagai 2) Is'e An Aussie, Is'e Lizzie. Barry Humphries and Dick Bentley Side Two : True British Spunk Naughty Vocal by Edna Everidge.
Ref: 1000

Finey Georgeview full entry

Reference: Catalogue Art of George Finey. An undated printed folded card with 5 stapled pages listing works of George Finey with prices.
Publishing details: No publication details given.
Ref: 1000

Finey Georgeview full entry

Reference: Book of Finey Poems and Drawings. Only (Finey posted copies of this book to fellow cartoonists, such as creator of Mr Squiggle, Norman Hetherington.
‘George Finey (1895-1987) caricaturist and artist was born in New Zealand and moved to Australia after World War I. He worked for Smith’s Weekly, the Labor Daily, the Truth, the Daily Telegraph, and Sunday Telegraph. He was vehemently left wing. A whole issue of Art in Australia was devoted to his work in June 1931 and an exhibition of his art on musical themes was presented at the Sydney Opera House in 1978. He left Sydney in the early 1940’s to live in the Blue Mountains. His work is held by the National Gallery of Australia and the Art Gallery of New South Wales. Limited edition of 500 copies. This copy is signed and dated by Finey on the title page and has a full-page drawing of a stem of leaves with an insect.’
Publishing details: Limited edition 500 copies October 1976. 54 page stapled large format paperback.
Ref: 1009

Strutt William bust ofview full entry

Reference: see Bonhams, London, 14.12.21, lot 258: A PLASTER BUST OF WILLIAM STRUTT
Early 19th century, after Francis Legatt Chantrey (1781-1841)
Stamped to the reverse: 'Chantrey Sc. 1841', together with a plaster bust of Prince William Frederick, Duke of Gloucester,
57cm wide, 29cm deep, 75cm high (22in wide, 11in deep, 29 1/2in high) and 69cm high (2)

RAINBOW SUGARBAG AND MOONview full entry

Reference: RAINBOW SUGARBAG AND MOON: TWO ARTISTS OF THE STONE COUNTRY: BARDAYAL NADJAMERREK AND MICK KUBARKKU, by Margie West; Bardayal Nadjamerrek; Mick Kubarkku

Publishing details: Darwin: Museum & Art Gallery of Northern Territory, 1995. 47 pages, colour illustrations. Illustrated wrappers.
Ref: 1000

NADJAMERREK BARDAYAL view full entry

Reference: see RAINBOW SUGARBAG AND MOON: TWO ARTISTS OF THE STONE COUNTRY: BARDAYAL NADJAMERREK AND MICK KUBARKKU, by Margie West; Bardayal Nadjamerrek; Mick Kubarkku

Publishing details: Darwin: Museum & Art Gallery of Northern Territory, 1995. 47 pages, colour illustrations. Illustrated wrappers.

KUBARKKU MICKview full entry

Reference: see RAINBOW SUGARBAG AND MOON: TWO ARTISTS OF THE STONE COUNTRY: BARDAYAL NADJAMERREK AND MICK KUBARKKU, by Margie West; Bardayal Nadjamerrek; Mick Kubarkku

Publishing details: Darwin: Museum & Art Gallery of Northern Territory, 1995. 47 pages, colour illustrations. Illustrated wrappers.

Roughsey Dickview full entry

Reference: THE QUINKINS, by Dick Roughsey; Percy Trezise
Publishing details: Sydney: Collins, 1979. Second Printing. [28] pages, colour illustrations. Illustrated papered boards, illustrated jacket.
Ref: 1000

Aboriginal Art view full entry

Reference: see The Beginner's guide Aboriginal Art - THE SYMBOLS, THEIR MEANINGS AND SOME DREAMTIME STORIES, by R Lewis
Publishing details: Fountainhead Distribution Services, 2000, 16 pages, black and white illustrations. Illustrated saddle-stapled wrappers.

Crawford James Couttsview full entry

Reference: see 14th Australiana Virtual Show and Tell Report December 2021: Watercolour near The Glebe Sydney James Coutts Crawford, Size 260 x180 cm.
In the August 2020 Australiana we [Robert and Peter] wrote an article about an amateur 19th century artist, James Coutts Crawford, living in Glebe, Sydney in 1844-45. Some watercolour scenes of Glebe from that time had “gone missing” and our article explained why the pictures were important to us as local historians in documenting the early history of our suburb. We had previously purchased one that we had been able to track down. Only having State Library high gloss black and white photographs of others we were eager to seek any leads from Society members in locating originals to purchase or better reproduce.
It pays to keep your eyes on auction sales and as other collectors know perseverance and time sometimes pay off as the excitement of locating a piece or better example forms a large part of why we all keep collecting. Surprisingly when viewing a recent Melbourne auction other members who had read our article contacted us to ask if we had seen the catalogue and if the lot was something we were after. Indeed it was and thanks to eagled eyed fellow members!
We were successful at auction and when reframed it will become a pair to our earlier purchase. From the State Library portfolio and written in old hand on the back of the picture, near The Glebe Sydney, we have been able through our knowledge of local topography to further identify its exact perspective. Only six more to locate!

Publishing details: Reports online at https://www.australiana.org.au/news

Priora T Telesforo view full entry

Reference: see 14th Australiana Virtual Show and Tell Report December 2021: Silver topped walking stick with the head of a woman wearing a hat, with the words ‘T. Telesforo Priora 48 & 50 Park St, Sydney’ engraved on it. Total length approx. 88cm.
The walking stick was made and probably used by Telesforo Priora. His name and address was recorded on it in case it was misplaced. The model of a woman's head with the fashionable hat is most likely a generic image, not a likeness of a particular person.
Italian born Telesfero T.P. Priora, and his brothers John, Ernesto and Amilcare were jewellers, diamond setters and silversmiths who created unique and unusual designs from their workshop at 48-50 Park St, Sydney from 1884 to 1909.
Telesfero died in 1902, thus the date range for the manufacture of the walking stick is between 1885 and 1902. In 1890 the shop was robbed and it was reported £600 of goods were stolen. The brothers often sold their goods to retailers like W.J. Proud and E. Butcher & Co. who had their retailers mark stamped on them.
Shortly after Telesfero died his widow and children gave a complimentary concert at the YMCA Hall in Pitt Street and invited all Italians in sympathy to attend.
In 1906 John and Ernesto became Australian citizens and their naturalization papers reveal Peter John Baptist (known as John) was born November 1854, at Mortara, in the Province of Lomellina, northern Italy, arrived in Australia in March 1882 from Milan [died Sydney 1938] and Ernesto was born July 1856 also at Mortara, and arrived in Australia in November 1879 [died 1936]. Amilcare died in 1910 in Sydney.
Italians in Sydney: In 1879 the Great International Exhibition was held in Sydney, with the participation of 50 Italian firms. Typical products exhibited were marble statues, mosaics, straw hats, wines, liqueurs, preserved fruit and machinery for the manufacture of pasta and the production of oil. The highlight of the closing ceremony of the Exhibition was the performance of the hymn Australia, composed by Milanese maestro Paolo Giorza. The 1901 Census registered the presence of 5,678 Italians in Australia. Of them, 915 lived in Sydney. When the brothers arrived in Sydney in the 1870s and 80s many Italians were political refugees and the Italian community had some 500 people. Whether the Priora brothers were political refugees or simply sought better financial opportunities is not known.
Notes: The Priora business is recorded in Australiana February 2001, Vol 23-1 Cavill, Kenneth ‘Genesis of the Riverview Gold Challenge Cup’ and Gold & Silversmiths, Makers & Marks by Cavill Cocks & Grace, C. G. C. Gold Ltd, Sydney 1992. P 190. Ros Maguire wrote on ‘Italian jewellers in NSW’ in Australiana August 2004.
Publishing details: Reports online at https://www.australiana.org.au/news

Priora John, Ernesto and Amilcare view full entry

Reference: see 14th Australiana Virtual Show and Tell Report December 2021: Silver topped walking stick with the head of a woman wearing a hat, with the words ‘T. Telesforo Priora 48 & 50 Park St, Sydney’ engraved on it. Total length approx. 88cm.
The walking stick was made and probably used by Telesforo Priora. His name and address was recorded on it in case it was misplaced. The model of a woman's head with the fashionable hat is most likely a generic image, not a likeness of a particular person.
Italian born Telesfero T.P. Priora, and his brothers John, Ernesto and Amilcare were jewellers, diamond setters and silversmiths who created unique and unusual designs from their workshop at 48-50 Park St, Sydney from 1884 to 1909.
Telesfero died in 1902, thus the date range for the manufacture of the walking stick is between 1885 and 1902. In 1890 the shop was robbed and it was reported £600 of goods were stolen. The brothers often sold their goods to retailers like W.J. Proud and E. Butcher & Co. who had their retailers mark stamped on them.
Shortly after Telesfero died his widow and children gave a complimentary concert at the YMCA Hall in Pitt Street and invited all Italians in sympathy to attend.
In 1906 John and Ernesto became Australian citizens and their naturalization papers reveal Peter John Baptist (known as John) was born November 1854, at Mortara, in the Province of Lomellina, northern Italy, arrived in Australia in March 1882 from Milan [died Sydney 1938] and Ernesto was born July 1856 also at Mortara, and arrived in Australia in November 1879 [died 1936]. Amilcare died in 1910 in Sydney.
Italians in Sydney: In 1879 the Great International Exhibition was held in Sydney, with the participation of 50 Italian firms. Typical products exhibited were marble statues, mosaics, straw hats, wines, liqueurs, preserved fruit and machinery for the manufacture of pasta and the production of oil. The highlight of the closing ceremony of the Exhibition was the performance of the hymn Australia, composed by Milanese maestro Paolo Giorza. The 1901 Census registered the presence of 5,678 Italians in Australia. Of them, 915 lived in Sydney. When the brothers arrived in Sydney in the 1870s and 80s many Italians were political refugees and the Italian community had some 500 people. Whether the Priora brothers were political refugees or simply sought better financial opportunities is not known.
Notes: The Priora business is recorded in Australiana February 2001, Vol 23-1 Cavill, Kenneth ‘Genesis of the Riverview Gold Challenge Cup’ and Gold & Silversmiths, Makers & Marks by Cavill Cocks & Grace, C. G. C. Gold Ltd, Sydney 1992. P 190. Ros Maguire wrote on ‘Italian jewellers in NSW’ in Australiana August 2004.
Publishing details: Reports online at https://www.australiana.org.au/news

Pocock J A furniture makerview full entry

Reference: see 14th Australiana Virtual Show and Tell Report December 2021: 6. Dressing table made by J.A. Pocock of Mile End, SA, c1930. Timber: Australian Oak with Blackwood side panels. Plywood was used for internal components and backing of the mirror. It was made during the Depression, so the furniture maker used timber that was available, and the dark stain gave a uniform appearance. Size: height 145 cm. width 122 cm. depth 50 cm.
The dressing table was part of a three piece bedroom suite and is a family heirloom. The bed was discarded in the early 1970s and the dressing table and the cabinet were acquired by a grandson. In recent times the dressing table, being no longer required by the grandson, was given to Colin Lane, another grandson. Colin restored it and during restoration he discovered the maker’s name in pencil, ‘J.A. Pocock’, and the mirror’s maker’s mark; ‘C LTD’ within a circle, and the date ‘10 Apr 1930’. A newspaper search in Trove revealed the maker had his factory situated at the corner of Falcon Avenue and Tarragon Street, Mile End, an inner western suburb of Adelaide. In 1937 the factory was destroyed by fire with the damages estimated to be £2,800. Little is known about J.A. (James Alexander) Pocock, except that in 1911 he was given an Honorary Mention in a Manufacturers’ Essay Competion and he attended Thebarton School. The C in the mirror stands for Clarkson, a glazier and paint suppliers of Adelaide.
This solved a family riddle – had it been brought out to Adelaide from England when the family arrived or was it purchased locally? The orginal owners, Jim and Maud Edmonds arrived in Australia in 1920 with their four children, and in 1922 they had another child, Beryl who turned 99 in November this year. Jim had served in the British Army during WWI and in Adelaide he had a business on the Norwood Parade repairing motor car canvas hoods. They lived in a number of small rental cottages within two kilometres of his business. Jim died in 1956 and Maud in 1970 and both are buried at Centennial Park.
Editor’s comment: The Clarkson business was established in 1848 and originally traded as H.L. Vosz, the founder’s name. In 1915 the business changed to Clarkson, named after one of the senior employees, Albert Ernest Clarkson, in response of the anti-German feeling at the
7
time. One of the founder’s sons, Adolph Frederick Emil Vosz bequeathed his coin collection in 1868 to the South Australian Institute, and that collection now forms part of the numismatic holdings held in the Art Gallery of South Australia.

Vosz H L furniture makerview full entry

Reference: see 14th Australiana Virtual Show and Tell Report December 2021: 6. Dressing table made by J.A. Pocock of Mile End, SA, c1930. Timber: Australian Oak with Blackwood side panels. Plywood was used for internal components and backing of the mirror. It was made during the Depression, so the furniture maker used timber that was available, and the dark stain gave a uniform appearance. Size: height 145 cm. width 122 cm. depth 50 cm.
The dressing table was part of a three piece bedroom suite and is a family heirloom. The bed was discarded in the early 1970s and the dressing table and the cabinet were acquired by a grandson. In recent times the dressing table, being no longer required by the grandson, was given to Colin Lane, another grandson. Colin restored it and during restoration he discovered the maker’s name in pencil, ‘J.A. Pocock’, and the mirror’s maker’s mark; ‘C LTD’ within a circle, and the date ‘10 Apr 1930’. A newspaper search in Trove revealed the maker had his factory situated at the corner of Falcon Avenue and Tarragon Street, Mile End, an inner western suburb of Adelaide. In 1937 the factory was destroyed by fire with the damages estimated to be £2,800. Little is known about J.A. (James Alexander) Pocock, except that in 1911 he was given an Honorary Mention in a Manufacturers’ Essay Competion and he attended Thebarton School. The C in the mirror stands for Clarkson, a glazier and paint suppliers of Adelaide.
This solved a family riddle – had it been brought out to Adelaide from England when the family arrived or was it purchased locally? The orginal owners, Jim and Maud Edmonds arrived in Australia in 1920 with their four children, and in 1922 they had another child, Beryl who turned 99 in November this year. Jim had served in the British Army during WWI and in Adelaide he had a business on the Norwood Parade repairing motor car canvas hoods. They lived in a number of small rental cottages within two kilometres of his business. Jim died in 1956 and Maud in 1970 and both are buried at Centennial Park.
Editor’s comment: The Clarkson business was established in 1848 and originally traded as H.L. Vosz, the founder’s name. In 1915 the business changed to Clarkson, named after one of the senior employees, Albert Ernest Clarkson, in response of the anti-German feeling at the
7
time. One of the founder’s sons, Adolph Frederick Emil Vosz bequeathed his coin collection in 1868 to the South Australian Institute, and that collection now forms part of the numismatic holdings held in the Art Gallery of South Australia.

Clarkson Albert Ernest furniture makerview full entry

Reference: see 14th Australiana Virtual Show and Tell Report December 2021: 6. Dressing table made by J.A. Pocock of Mile End, SA, c1930. Timber: Australian Oak with Blackwood side panels. Plywood was used for internal components and backing of the mirror. It was made during the Depression, so the furniture maker used timber that was available, and the dark stain gave a uniform appearance. Size: height 145 cm. width 122 cm. depth 50 cm.
The dressing table was part of a three piece bedroom suite and is a family heirloom. The bed was discarded in the early 1970s and the dressing table and the cabinet were acquired by a grandson. In recent times the dressing table, being no longer required by the grandson, was given to Colin Lane, another grandson. Colin restored it and during restoration he discovered the maker’s name in pencil, ‘J.A. Pocock’, and the mirror’s maker’s mark; ‘C LTD’ within a circle, and the date ‘10 Apr 1930’. A newspaper search in Trove revealed the maker had his factory situated at the corner of Falcon Avenue and Tarragon Street, Mile End, an inner western suburb of Adelaide. In 1937 the factory was destroyed by fire with the damages estimated to be £2,800. Little is known about J.A. (James Alexander) Pocock, except that in 1911 he was given an Honorary Mention in a Manufacturers’ Essay Competion and he attended Thebarton School. The C in the mirror stands for Clarkson, a glazier and paint suppliers of Adelaide.
This solved a family riddle – had it been brought out to Adelaide from England when the family arrived or was it purchased locally? The orginal owners, Jim and Maud Edmonds arrived in Australia in 1920 with their four children, and in 1922 they had another child, Beryl who turned 99 in November this year. Jim had served in the British Army during WWI and in Adelaide he had a business on the Norwood Parade repairing motor car canvas hoods. They lived in a number of small rental cottages within two kilometres of his business. Jim died in 1956 and Maud in 1970 and both are buried at Centennial Park.
Editor’s comment: The Clarkson business was established in 1848 and originally traded as H.L. Vosz, the founder’s name. In 1915 the business changed to Clarkson, named after one of the senior employees, Albert Ernest Clarkson, in response of the anti-German feeling at the
7
time. One of the founder’s sons, Adolph Frederick Emil Vosz bequeathed his coin collection in 1868 to the South Australian Institute, and that collection now forms part of the numismatic holdings held in the Art Gallery of South Australia.

Clarksons furniture makerview full entry

Reference: see 14th Australiana Virtual Show and Tell Report December 2021: 6. Dressing table made by J.A. Pocock of Mile End, SA, c1930. Timber: Australian Oak with Blackwood side panels. Plywood was used for internal components and backing of the mirror. It was made during the Depression, so the furniture maker used timber that was available, and the dark stain gave a uniform appearance. Size: height 145 cm. width 122 cm. depth 50 cm.
The dressing table was part of a three piece bedroom suite and is a family heirloom. The bed was discarded in the early 1970s and the dressing table and the cabinet were acquired by a grandson. In recent times the dressing table, being no longer required by the grandson, was given to Colin Lane, another grandson. Colin restored it and during restoration he discovered the maker’s name in pencil, ‘J.A. Pocock’, and the mirror’s maker’s mark; ‘C LTD’ within a circle, and the date ‘10 Apr 1930’. A newspaper search in Trove revealed the maker had his factory situated at the corner of Falcon Avenue and Tarragon Street, Mile End, an inner western suburb of Adelaide. In 1937 the factory was destroyed by fire with the damages estimated to be £2,800. Little is known about J.A. (James Alexander) Pocock, except that in 1911 he was given an Honorary Mention in a Manufacturers’ Essay Competion and he attended Thebarton School. The C in the mirror stands for Clarkson, a glazier and paint suppliers of Adelaide.
This solved a family riddle – had it been brought out to Adelaide from England when the family arrived or was it purchased locally? The orginal owners, Jim and Maud Edmonds arrived in Australia in 1920 with their four children, and in 1922 they had another child, Beryl who turned 99 in November this year. Jim had served in the British Army during WWI and in Adelaide he had a business on the Norwood Parade repairing motor car canvas hoods. They lived in a number of small rental cottages within two kilometres of his business. Jim died in 1956 and Maud in 1970 and both are buried at Centennial Park.
Editor’s comment: The Clarkson business was established in 1848 and originally traded as H.L. Vosz, the founder’s name. In 1915 the business changed to Clarkson, named after one of the senior employees, Albert Ernest Clarkson, in response of the anti-German feeling at the
7
time. One of the founder’s sons, Adolph Frederick Emil Vosz bequeathed his coin collection in 1868 to the South Australian Institute, and that collection now forms part of the numismatic holdings held in the Art Gallery of South Australia.

Sidman Williamview full entry

Reference: William Sidman
England, Australia
1847 – 21 Feb 1918
Born in England in 1847, William Sidman came to Australia in 1880 and was active in Sydney in the 1890s, producing etched views of the city, harbour, botanic gardens as well as the occasional still life. He died at Camden, NSW in 1918. Sidman’s oeuvre became known via a group of posthumous impressions printed by Basil Hall from original copper plates, commissioned by the National Gallery of Australia in 1996.
This print depicts a group of historical Aboriginal objects including shields, boomerangs, and spears from New South Wales. Sidman possibly arranged and recorded the objects at a Sydney museum or a private collection. The objects have been arranged for their aesthetic effect, with their original function and significance secondary. [Information from AGNSW website which has ‘NSW Native Implements’ 1892, etching on brown wove paper
Dimensions
22.3 x 15.0 cm platemark; 32.0 x 23.5 cm sheet sight; 40.0 x 32.0 x 2.5 cm frame
Signature & date
Signed l.r., pencil "W. Sidman".
Signed and dated l.r. within plate-mark, printed "Sid [within circle] 92.".
Credit
Gift of Tim Klingender 2021. Donated through the Australian Government's Cultural Gifts Program

Playpowerview full entry

Reference: Playpower: Exploring the International Underground, by Richard Neville [1941-2016] [’A hugely influential study of the Counter Culture and the relationship between the New Left and the ' Underground of hippies, yippies, beats, madmen, freaks, crazies, crackpots,...’]
Publishing details: Jonathan Cape, 1970.
Ref: 1000

Sharp Martinview full entry

Reference: see Playpower: Exploring the International Underground, by Richard Neville [1941-2016] [’A hugely influential study of the Counter Culture and the relationship between the New Left and the ' Underground of hippies, yippies, beats, madmen, freaks, crazies, crackpots,...’]
Publishing details: Jonathan Cape, 1970.

Oz Magazineview full entry

Reference: see Playpower: Exploring the International Underground, by Richard Neville [1941-2016] [’A hugely influential study of the Counter Culture and the relationship between the New Left and the ' Underground of hippies, yippies, beats, madmen, freaks, crazies, crackpots,...’]
Publishing details: Jonathan Cape, 1970.

Daghit Steveview full entry

Reference: see JOHN NICHOLSON'S auction, UK, 22.12.21, lot 1442: Steve Daghit (20th /21st Century) 'Sydney Harbour', oil on board, signed with initials and inscribed verso, 10.25" x 12".

Dual/Duelview full entry

Reference: Dual/Duel, by Brook Andrew and Trent Walter. ['Dual/Duel is a collaborative artists’ book by Brook Andrew and Trent Walter, drawn predominantly from the State Library of Victoria’s pictures collection, with interventions from the artists’ personal archives. The book’s form is a series of juxtaposed image propositions whose assembly forms new relational narratives connecting the artists’ cultural perspectives of Wiradjuri/Sri Lankan/Celtic/European with topics of conflict, immigration, hope, confusion, complicity and power amongst image, shape, trickery, concealment and shadow play. This practice of image juxtaposition is prevalent in Andrew’s and Walter’s artistic and cultural practices which re-define how the world can be reordered and seen. This perspective shifts ideas around building memories, timelines and making visible often devastating histories in ways that can hopefully heal: to imagine new ways to engage and acknowledge....' (publisher)’]
Publishing details: Melbourne : Garru Editions, Brook Andrew Studio and Negative Press, 2021 (printed in 2020). Quarto, gilt-blocked yellow cloth, 366 x 278 mm, edges dyed black, red and yellow endpapers, unpaginated; photobook of images selected from the collection of the State Library by Brook Andrew and Trent Walter, designed by Yanni Florence. Limited to 500 copies (with half bound in red and half bound in yellow cloth), plus 50 special editions with additional material by the artists.
Ref: 1000

Andrew Brookview full entry

Reference: see Dual/Duel, by Brook Andrew and Trent Walter. ['Dual/Duel is a collaborative artists’ book by Brook Andrew and Trent Walter, drawn predominantly from the State Library of Victoria’s pictures collection, with interventions from the artists’ personal archives. The book’s form is a series of juxtaposed image propositions whose assembly forms new relational narratives connecting the artists’ cultural perspectives of Wiradjuri/Sri Lankan/Celtic/European with topics of conflict, immigration, hope, confusion, complicity and power amongst image, shape, trickery, concealment and shadow play. This practice of image juxtaposition is prevalent in Andrew’s and Walter’s artistic and cultural practices which re-define how the world can be reordered and seen. This perspective shifts ideas around building memories, timelines and making visible often devastating histories in ways that can hopefully heal: to imagine new ways to engage and acknowledge....' (publisher)’]
Publishing details: Melbourne : Garru Editions, Brook Andrew Studio and Negative Press, 2021 (printed in 2020). Quarto, gilt-blocked yellow cloth, 366 x 278 mm, edges dyed black, red and yellow endpapers, unpaginated; photobook of images selected from the collection of the State Library by Brook Andrew and Trent Walter, designed by Yanni Florence. Limited to 500 copies (with half bound in red and half bound in yellow cloth), plus 50 special editions with additional material by the artists.

Walter Trentview full entry

Reference: see Dual/Duel, by Brook Andrew and Trent Walter. ['Dual/Duel is a collaborative artists’ book by Brook Andrew and Trent Walter, drawn predominantly from the State Library of Victoria’s pictures collection, with interventions from the artists’ personal archives. The book’s form is a series of juxtaposed image propositions whose assembly forms new relational narratives connecting the artists’ cultural perspectives of Wiradjuri/Sri Lankan/Celtic/European with topics of conflict, immigration, hope, confusion, complicity and power amongst image, shape, trickery, concealment and shadow play. This practice of image juxtaposition is prevalent in Andrew’s and Walter’s artistic and cultural practices which re-define how the world can be reordered and seen. This perspective shifts ideas around building memories, timelines and making visible often devastating histories in ways that can hopefully heal: to imagine new ways to engage and acknowledge....' (publisher)’]
Publishing details: Melbourne : Garru Editions, Brook Andrew Studio and Negative Press, 2021 (printed in 2020). Quarto, gilt-blocked yellow cloth, 366 x 278 mm, edges dyed black, red and yellow endpapers, unpaginated; photobook of images selected from the collection of the State Library by Brook Andrew and Trent Walter, designed by Yanni Florence. Limited to 500 copies (with half bound in red and half bound in yellow cloth), plus 50 special editions with additional material by the artists.

Watt Andrewview full entry

Reference: Corresponence from John McPhee to Stephen Scheding re a double portrait of Mr A w Watt and Mrs Watt, possibly by Andrew watt. The oil painting in private hands. Notes by a family owner of the work is attached, along with illustrations.
Ref: 138

Gibson James attributedview full entry

Reference: Corresponence from John McPhee to Stephen Scheding re an inn sign, c1870, (i the Hawkesbury Regional Museum) signed Gibson and possibly by sign/carriage painter James Gibson. (James’ son was also a sign/carriage painter.)
Ref: 138

Encyclopaedia Of Australian Potters Marks view full entry

Reference: Encyclopaedia Of Australian Potters Marks by Geoff Ford. Bibliography: p. 233-234.
Publishing details: Wodonga, Vic. : Salt Glaze Press, c2002
240 p. : ill. (orig pub;ished 1998)
Ref: 1009

Bult Edmund Edgarview full entry

Reference: see Sydney Living Museum website: A TALENTED CONVICT ARTIST,
Two portrait miniatures in our collection illustrate the opportunities available to a skilled convict artist for commissions from the upwardly mobile emancipist and settler population of colonial NSW.
When convict Edmund Edgar Bult arrived in Sydney in September 1826 on the Marquis of Huntley his services were immediately snapped up by leading colonial artist Augustus Earle. The artist had a new lithographic press and a publishing project that required a printmaker’s skills. Bult was an engraver and miniature painter who was ‘very clever in his profession’.1
Bult’s training meant that he was lucky in the lottery of convict assignment. He may also have had some personal charm. We know that he was a young man ‘of elegant appearance’, aged 22 or 23 when convicted of robbery at London’s Old Bailey in September 1825 and sentenced to death. Although he said his name was Edmund Edgar, witnesses came forward at his committal hearing to testify that his real surname was Bult and that his connections were respectable. Those connections successfully petitioned for a mitigation of his sentence to transportation for life.2
Following his work for Earle, Bult’s skills were sought by a succession of employers, including engraver and copperplate printer John Carmichael and schoolmaster John Gilcrist, for whom he taught drawing and perspective to the sons of civil and military officers and ‘to the rising generation of this colony’3 – although this was interrupted in October 1828 by a three-month spell in an iron gang for being found ‘drunk & in a disorderly house at a late hour of night’.4 When Gilcrist died in August 1829 Bult was briefly employed as a drawing master and teacher of penmanship by another schoolmaster, Dr Wilks, before being transferred in May 1830 to Crown Solicitor William Henry Moore, remaining in Moore’s service until 1843. He worked as a clerk but found time to take on private portrait commissions, signing his pictures Edmund Edgar.
Portrait miniatures
The Caroline Simpson Collection at Sydney Living Museums includes a pair of Bult’s portrait miniatures, painted in Sydney in 1835. They are framed for hanging above a mantelpiece and the subjects identified on the backing papers as ‘Mrs Turner’ and ‘John Andrew Turner’. Mary Ann Turner, nee Chapman, was born in Sydney in 1804, the daughter of emancipated convicts. Her mother, Ann Marsh, transported on the Lady Juliana in 1790, was an enterprising woman who operated a licensed passage boat service between Sydney and Parramatta.
In 1821, Mary Ann married George Turner, a sergeant in the 48th Regiment of Foot, on garrison duty in NSW before being posted to India in 1824. Mary Ann and their young children travelled with the regiment, eventually returning to Sydney in 1827 when Turner volunteered for service in the NSW Veteran Company. Their youngest child, John, was born in Newcastle in 1829. He became a prosperous stock and station agent and auctioneer, first in Maitland and later in Sydney. Mary Ann died at his house in Maitland in 1856. John died in 1874. After his death his widow, Kate Turner, relocated to England with her nine children, taking Bult’s portrait miniatures with her.
A passport to paint
The miniatures came to light in 2002 at a London antiques fair, having stayed in family ownership until that time. The story of the artist, on the other hand, remains incomplete. In January 1843 Bult was given a ‘ticket of leave passport’ which allowed him ‘to follow his profession as an Artist in the districts of Windsor, Campbell Town and Parramatta for 6 months’. He was looking for portrait commissions in areas where the demographic was largely settled emancipists and their families. At the end of the six months he was recommended for a conditional pardon,5 and received notification in June 1844 that the recommendation had been approved. He was listed as an artist, under the name Edgar, in an 1847 Sydney trade directory, but there the trail runs cold, with just a few possible references in the press and a late mention in the memoir of Samuel Elyard, one of his former pupils at Gilcrist’s academy. Elyard remembered his teacher as a man of ‘kind disposition’ who ‘painted miniatures very nicely, and had he kept steadily to his profession, would perhaps have been an eminent artist’.6

Footnotes
1. Cambridge Chronicle, 23 September 1825, p2.
2. London Courier, 13 September 1825, p4; The National Archives: HO 17/39/113.
3. State Archives NSW: 4/1939 no 27/6883.
4. State Archives NSW: 4/1994 no 28/7906.
5. A pardon conditional that the convict does not return to England or Ireland.
6. Samuel Elyard, Scenery of the Shoalhaven, Nowra, 1892.

.
Publishing details: https://sydneylivingmuseums.com.au/stories/talented-convict-artist

Edgar Edmund (Bult)view full entry

Reference: see Sydney Living Museum website: A TALENTED CONVICT ARTIST,
Two portrait miniatures in our collection illustrate the opportunities available to a skilled convict artist for commissions from the upwardly mobile emancipist and settler population of colonial NSW.
When convict Edmund Edgar Bult arrived in Sydney in September 1826 on the Marquis of Huntley his services were immediately snapped up by leading colonial artist Augustus Earle. The artist had a new lithographic press and a publishing project that required a printmaker’s skills. Bult was an engraver and miniature painter who was ‘very clever in his profession’.1
Bult’s training meant that he was lucky in the lottery of convict assignment. He may also have had some personal charm. We know that he was a young man ‘of elegant appearance’, aged 22 or 23 when convicted of robbery at London’s Old Bailey in September 1825 and sentenced to death. Although he said his name was Edmund Edgar, witnesses came forward at his committal hearing to testify that his real surname was Bult and that his connections were respectable. Those connections successfully petitioned for a mitigation of his sentence to transportation for life.2
Following his work for Earle, Bult’s skills were sought by a succession of employers, including engraver and copperplate printer John Carmichael and schoolmaster John Gilcrist, for whom he taught drawing and perspective to the sons of civil and military officers and ‘to the rising generation of this colony’3 – although this was interrupted in October 1828 by a three-month spell in an iron gang for being found ‘drunk & in a disorderly house at a late hour of night’.4 When Gilcrist died in August 1829 Bult was briefly employed as a drawing master and teacher of penmanship by another schoolmaster, Dr Wilks, before being transferred in May 1830 to Crown Solicitor William Henry Moore, remaining in Moore’s service until 1843. He worked as a clerk but found time to take on private portrait commissions, signing his pictures Edmund Edgar.
Portrait miniatures
The Caroline Simpson Collection at Sydney Living Museums includes a pair of Bult’s portrait miniatures, painted in Sydney in 1835. They are framed for hanging above a mantelpiece and the subjects identified on the backing papers as ‘Mrs Turner’ and ‘John Andrew Turner’. Mary Ann Turner, nee Chapman, was born in Sydney in 1804, the daughter of emancipated convicts. Her mother, Ann Marsh, transported on the Lady Juliana in 1790, was an enterprising woman who operated a licensed passage boat service between Sydney and Parramatta.
In 1821, Mary Ann married George Turner, a sergeant in the 48th Regiment of Foot, on garrison duty in NSW before being posted to India in 1824. Mary Ann and their young children travelled with the regiment, eventually returning to Sydney in 1827 when Turner volunteered for service in the NSW Veteran Company. Their youngest child, John, was born in Newcastle in 1829. He became a prosperous stock and station agent and auctioneer, first in Maitland and later in Sydney. Mary Ann died at his house in Maitland in 1856. John died in 1874. After his death his widow, Kate Turner, relocated to England with her nine children, taking Bult’s portrait miniatures with her.
A passport to paint
The miniatures came to light in 2002 at a London antiques fair, having stayed in family ownership until that time. The story of the artist, on the other hand, remains incomplete. In January 1843 Bult was given a ‘ticket of leave passport’ which allowed him ‘to follow his profession as an Artist in the districts of Windsor, Campbell Town and Parramatta for 6 months’. He was looking for portrait commissions in areas where the demographic was largely settled emancipists and their families. At the end of the six months he was recommended for a conditional pardon,5 and received notification in June 1844 that the recommendation had been approved. He was listed as an artist, under the name Edgar, in an 1847 Sydney trade directory, but there the trail runs cold, with just a few possible references in the press and a late mention in the memoir of Samuel Elyard, one of his former pupils at Gilcrist’s academy. Elyard remembered his teacher as a man of ‘kind disposition’ who ‘painted miniatures very nicely, and had he kept steadily to his profession, would perhaps have been an eminent artist’.6

Footnotes
1. Cambridge Chronicle, 23 September 1825, p2.
2. London Courier, 13 September 1825, p4; The National Archives: HO 17/39/113.
3. State Archives NSW: 4/1939 no 27/6883.
4. State Archives NSW: 4/1994 no 28/7906.
5. A pardon conditional that the convict does not return to England or Ireland.
6. Samuel Elyard, Scenery of the Shoalhaven, Nowra, 1892.

.
Publishing details: https://sydneylivingmuseums.com.au/stories/talented-convict-artist

Elyard Samuel referenceview full entry

Reference: see Sydney Living Museum website: A TALENTED CONVICT ARTIST,
Two portrait miniatures in our collection illustrate the opportunities available to a skilled convict artist for commissions from the upwardly mobile emancipist and settler population of colonial NSW.
When convict Edmund Edgar Bult arrived in Sydney in September 1826 on the Marquis of Huntley his services were immediately snapped up by leading colonial artist Augustus Earle. The artist had a new lithographic press and a publishing project that required a printmaker’s skills. Bult was an engraver and miniature painter who was ‘very clever in his profession’.1
Bult’s training meant that he was lucky in the lottery of convict assignment. He may also have had some personal charm. We know that he was a young man ‘of elegant appearance’, aged 22 or 23 when convicted of robbery at London’s Old Bailey in September 1825 and sentenced to death. Although he said his name was Edmund Edgar, witnesses came forward at his committal hearing to testify that his real surname was Bult and that his connections were respectable. Those connections successfully petitioned for a mitigation of his sentence to transportation for life.2
Following his work for Earle, Bult’s skills were sought by a succession of employers, including engraver and copperplate printer John Carmichael and schoolmaster John Gilcrist, for whom he taught drawing and perspective to the sons of civil and military officers and ‘to the rising generation of this colony’3 – although this was interrupted in October 1828 by a three-month spell in an iron gang for being found ‘drunk & in a disorderly house at a late hour of night’.4 When Gilcrist died in August 1829 Bult was briefly employed as a drawing master and teacher of penmanship by another schoolmaster, Dr Wilks, before being transferred in May 1830 to Crown Solicitor William Henry Moore, remaining in Moore’s service until 1843. He worked as a clerk but found time to take on private portrait commissions, signing his pictures Edmund Edgar.
Portrait miniatures
The Caroline Simpson Collection at Sydney Living Museums includes a pair of Bult’s portrait miniatures, painted in Sydney in 1835. They are framed for hanging above a mantelpiece and the subjects identified on the backing papers as ‘Mrs Turner’ and ‘John Andrew Turner’. Mary Ann Turner, nee Chapman, was born in Sydney in 1804, the daughter of emancipated convicts. Her mother, Ann Marsh, transported on the Lady Juliana in 1790, was an enterprising woman who operated a licensed passage boat service between Sydney and Parramatta.
In 1821, Mary Ann married George Turner, a sergeant in the 48th Regiment of Foot, on garrison duty in NSW before being posted to India in 1824. Mary Ann and their young children travelled with the regiment, eventually returning to Sydney in 1827 when Turner volunteered for service in the NSW Veteran Company. Their youngest child, John, was born in Newcastle in 1829. He became a prosperous stock and station agent and auctioneer, first in Maitland and later in Sydney. Mary Ann died at his house in Maitland in 1856. John died in 1874. After his death his widow, Kate Turner, relocated to England with her nine children, taking Bult’s portrait miniatures with her.
A passport to paint
The miniatures came to light in 2002 at a London antiques fair, having stayed in family ownership until that time. The story of the artist, on the other hand, remains incomplete. In January 1843 Bult was given a ‘ticket of leave passport’ which allowed him ‘to follow his profession as an Artist in the districts of Windsor, Campbell Town and Parramatta for 6 months’. He was looking for portrait commissions in areas where the demographic was largely settled emancipists and their families. At the end of the six months he was recommended for a conditional pardon,5 and received notification in June 1844 that the recommendation had been approved. He was listed as an artist, under the name Edgar, in an 1847 Sydney trade directory, but there the trail runs cold, with just a few possible references in the press and a late mention in the memoir of Samuel Elyard, one of his former pupils at Gilcrist’s academy. Elyard remembered his teacher as a man of ‘kind disposition’ who ‘painted miniatures very nicely, and had he kept steadily to his profession, would perhaps have been an eminent artist’.6

Footnotes
1. Cambridge Chronicle, 23 September 1825, p2.
2. London Courier, 13 September 1825, p4; The National Archives: HO 17/39/113.
3. State Archives NSW: 4/1939 no 27/6883.
4. State Archives NSW: 4/1994 no 28/7906.
5. A pardon conditional that the convict does not return to England or Ireland.
6. Samuel Elyard, Scenery of the Shoalhaven, Nowra, 1892.

.
Publishing details: https://sydneylivingmuseums.com.au/stories/talented-convict-artist

Roberts Tomview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Streeton Arthur view full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Proctor Thea view full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Nolan Sidney view full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Drysdale Russell view full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Dobell William view full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Thomas Rover view full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Arkley Howard view full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Piccinini Patricia view full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Gladwell Shaun view full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Tucker Albertview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Boyd Arthurview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Davis Johnview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Unsworth Kenview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Owen Robertview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Coleing Tonyview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Mortensen Kevinview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Gascoigne Rosalieview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Booth Peterview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Nickolls Trevorview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Tillers Imantsview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Watson Jennyview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Henson Billview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Kngwarreye Emily Kameview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Watson Judyview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Koolmatrie Yvonneview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Jones Lyndallview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Swallow Rickyview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

von Sturmer Danielview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Morton Callumview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Norrie Susanview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Healy Claireview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Cordeiro Seanview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Ah Kee Vernonview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Yonetani Kenview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Armanious Hanyview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Gill Simrynview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Hall Fionaview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Moffatt Traceyview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Mesiti Angelicaview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Lambert Georgeview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Grovenor Thomas first Australian exhibitorview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Tyndall Peter 2 refsview full entry

Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.

Stokes Constance 1906-1991view full entry

Reference: Constance Stokes 1906-1991. Lauraine Diggins Fine Art exhibition catalogue, 30 Nov, 2021 - 31 March 2022. Essay by Dr Juliett Peers, 29 works illustrated, 19 works on catalogue list.
Publishing details: Lauraine Diggins Fine Art, 2021, 8pp folding card with price list inserted.
Ref: 144

Nolan Sidney extensive referencesview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Reed John and Sundayview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Atyeo Sam extensive referencesview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Nolan Sidney extensive referencesview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Ham Ethel later Baillieu artist mother of Sunday Reedview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Baillieu Ethel nee Ham artist mother of Sunday Reedview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Ward Fred illustrator 5 refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Douglas Neil extensive referencesview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Lawler Adrian 6 refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Vassilieff Danila extensive refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Paterson John Ford 1 refview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Paterson Elizabeth 6 refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Brabazon Francis painter and spiritualist 4 refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Lennie Yvonneview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Tucker Albert extensive refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Perceval John extensive refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Sinclair John artist later music critic extensive refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Coleman Alannahview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Reed Sweeneyview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Robertson W Bryson artist admired by Nolanview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Boyd family numerous refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Mora Mirka numerous refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Hope Laurence 6 refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Kane Julius 2 refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Pugh Clifton 2 refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Last Cliffordview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Syme Dawnview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Syme Ianview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Langley Jean numerous refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

McGilchrist Ericaview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Dickerson Robertview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Counihan Noelview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Counihan Noelview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Dearing H extensive refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Hester Joy extensive refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Burns Peter architect and artistview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Evatt Mary Aliceview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Dyring Moya 10 refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Kryzwokulski John 4 refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

darkening ecliptic The view full entry

Reference: The darkening ecliptic, by Ern Malley, Illustration by Sidney Nolan.
Introduction by Max Harris.
Publishing details: Reed & Harris, 1944
45 p. : ill.
Ref: 1009

darkening ecliptic The view full entry

Reference: The darkening ecliptic / poems by Ern Malley ; paintings by Sidney Nolan ; preface by Robert Melville; introduction by Elwyn Lynn. Designed by Gordon House.
"The Ern Malley poems were the work of two young Australian writers, McAuley and Stewart, and were published in the avant-garde magazine Angry Penguins, edited by Max Harris and John Reed in close association with Sidney Nolan" -- foreword, p. 4. [’Illustrated by Sidney Nolan, with portrait of "Ern Malley" on front and rear pasted endpapers. Preface by Robert Melville; introduction by Elwyn Lynn. "Ern Malley" was the name given to a fictitious poet created by Australian poets James McAuley and Harold Stewart in 1943 as a hoax to embarrass the Angry Penguins, a modern art and literature movement led by Max Harris. To add further credulity to the hoax, McAuley and Stewart gave Malley an invented sister, Ethel. It was "Ethel" who sent the Darkening Ecliptic to Max Harris following her brother's apparent untimely "death". Although the motive of the original hoaxers was to humiliate the Angry Penguins and their modernist pretentions, the "works" of Malley were attributed with significant literary merit, despite the fact that McAuley and Stewart had borrowed inspiration from anything at hand during their compositions, including a treatise on the breeding habits of mosquitoes.’]
Publishing details: R. Alistair McAlpine, [1974?] , 56 p. : col. ill., port. Limited edition of 1,000 copies.

Nolan Sidneyview full entry

Reference: see The darkening ecliptic / poems by Ern Malley ; paintings by Sidney Nolan ; preface by Robert Melville; introduction by Elwyn Lynn.
"The Ern Malley poems were the work of two young Australian writers, McAuley and Stewart, and were published in the avant-garde magazine Angry Penguins, edited by Max Harris and John Reed in close association with Sidney Nolan" -- foreword, p. 4.
Publishing details: R. Alistair McAlpine, [1974?] , 56 p. : col. ill., port. Limited edition of 1,000 copies.

Nolan Sidneyview full entry

Reference: see The darkening ecliptic, by Ern Malley, Illustration by Sidney Nolan.
Introduction by Max Harris.
Publishing details: Reed & Harris, 1944
45 p. : ill.

Reinhard Kenview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Mitelman Allanview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Senbergs Janview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Leach-Jones Alunview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Kossatz Les 3 refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Bell George 5 refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Blackman Charles numerous refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Brown Mike numerous refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

contemporary Art Society numerous refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

CAS numerous refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Dobell William 3 refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Gallery of Contemporary Art Melbourneview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Heideview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Modern artview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Museum of Modern Art of Australia numerous refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

O’Connor Vic 3 refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Perceval Matthew 4 refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Selenitsch Alex 3 refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Smith Gray numerous refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Stonygrad 3 refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Vassilieff Elizabeth 3 refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

New Gallery run by Clarice Zander refview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Zander Clarice 3 refs New Galleryview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

Inside the Vault view full entry

Reference: Inside the Vault - The History and Art of Australian Coinage. By: Peter Rees. [’Celebrating the history and art of Australian coinage for the first time, Inside the Vault uncovers the fascinating story of the nation’s currency. Bestselling author Peter Rees traces significant events – the Rum Rebellion, the gold rushes of the 19th century, the opening of the Royal Australian Mint, the introduction of decimal currency in 1966 – and their effect on Australia’s coinage.

Lavishly illustrated, Inside the Vault includes never-before-seen design sketches and images of key Australian coins along with stunning images of important events and people in the history of Australian coinage.’]
Publishing details: NewSouth Publishing , 2016, 256pp
Ref: 1000

coins - art ofview full entry

Reference: see Inside the Vault - The History and Art of Australian Coinage. By: Peter Rees. [’Celebrating the history and art of Australian coinage for the first time, Inside the Vault uncovers the fascinating story of the nation’s currency. Bestselling author Peter Rees traces significant events – the Rum Rebellion, the gold rushes of the 19th century, the opening of the Royal Australian Mint, the introduction of decimal currency in 1966 – and their effect on Australia’s coinage.

Lavishly illustrated, Inside the Vault includes never-before-seen design sketches and images of key Australian coins along with stunning images of important events and people in the history of Australian coinage.’]
Publishing details: NewSouth Publishing , 2016, 256pp

European art in Australiaview full entry

Reference: see Antipodean Early Modern - European Art in Australian Collections, c. 1200-1600
By: PROF. Anne Dunlop (Editor), Libby Melzer (Contribution by), Margaret M. Manion (Contribution by), Elaine Shaw (Contribution by), Bernard J. Muir (Contribution by) [’A Prayer Book owned by the Rothschilds, an Italian bronze casket by Antico, a lavishly illustrated Carnival chronicle from sixteenth-century Germany, an altarpiece by Pieter Brueghel the Younger - much of the artwork in this book, held by Australian collections, is essentially unknown beyond the continent. The authors of these essays showcase these extraordinary objects to their full potential,revealing a wide range of contemporary art and historical research. This collection of essays will surprise even specialists.’]
Publishing details: Amsterdam University Press , 2018, 296pp

Rae Isoview full entry

Reference: see Lauraine Diggins Fine Art, Xmas email, 2021: ( Femme Bretonne a Jardin, Étaples )
Isobel (Iso) Rae
( Femme Bretonne a Jardin, Étaples ) by Isobel (Iso) Rae
Details
Artist
Isobel (Iso) Rae
Title
( Femme Bretonne a Jardin, Étaples )
Year
1890s
Medium
oil on canvas
Size
83.5 x 43 cm
Details
signed lower left: ISO RAE
Enquire about this artwork
Provenance
John Featon, Glasgow
by descent
Isabella Fearon, Hall Green, Birmingham
by descent
Douglas and Mary Fearon, Solihull
by descent
Mike Fearon, Solihull
by descent
Julia Richardson, Birmingham
private collection
Further Information
Isobel ‘Iso’ Rae undertook studies at the National Gallery School, under the tutelage of George Folingsby (Painting and Oswald Rose Campbell (Design), consistently receiving honours for her work. She exhibited with the Victorian Academy of Arts from 1881 -83 before moving to France with her mother and sister in 1887. Here she attended the Academie Colarossi and by the early 1890s the family settled in Etaples, a picturesque fishing village on the coast of northern France, home to a vibrant expatriate arts community, where she crossed paths with fellow NGV students Rupert Bunny and James Quinn. Hilda Rix Nicholas and Phillips Fox were among other Australian artists drawn to Etaples.
Rae continued on occasion, to show her work in Australia and gained recognition with inclusions of her work in the Old Salon, Paris and Royal Society of British Artists, London. Her work shows the influence of impressionist and post-impressionist concerns encountered in Paris at this time. Rae’s paintings en plein air, focussed not only on landscape but to the people of the area.
In 1892, the Society of Friends of the Arts of Etaples was established, a group with which Rae exhibited. The same year, the Musee Quentovic acquired her painting, Pierrot, possibly the earliest work by an Australian artist to enter a French public institution. The NGV has recently acquired Rae’s Young Girl, Etaples c.1892, purchased for a record price. Like her fellow Australian artists, including Rupert Bunny, Bessie Davidson and John Peter Russell, Rae spent the majority of her career living and working in France and is only now becoming more celebrated in the country of her birth.
(Femme Bretonne a Jardin, Etaples) shows a woman standing in a flower-filled garden and most likely dates from the 1890s, showing the influence of French Impressionism, especially through the evocative light. Our eye is led along the path into the painting and drawn to the figure, dressed in colours both complementary to the touches of blues and pinks and also contrasting with the green foliage and yellow ochre ground. The painting fits with popular themes artists’ were drawn to at the time, depicting labourers in provincial costume, drawing on the tradition of Bastien-Lepage and Millet. The house is typical of those in Etaples with its gabled roof and dormer windows. The white blossoms, fluffy against a bright blue sky are reminiscent of Russell and Van Gogh.

Nash Georgeview full entry

Reference: see Christies, Melbourne, 28 July 1992
Lot 43: George Nash
An extensive view of Perth W.A. with a group of natives in the foreground, undated
Pencil and watercolour
37.0 x 54.5 cm,

Beckett Clariceview full entry

Reference: see Ruth Prowse: Thirty Years of Collecting; works by 12 Australian and other arists, essays by Nancy Sever, Tony Oates, David Boon and others. Includes essays on the artists.
Publishing details: Drill Hall Gallery, 2004, pb, 36pp

Smith Grace Cossingtonview full entry

Reference: see Ruth Prowse: Thirty Years of Collecting; works by 12 Australian and other arists, essays by Nancy Sever, Tony Oates, David Boon and others. Includes essays on the artists.
Publishing details: Drill Hall Gallery, 2004, pb, 36pp

de Maistre Royview full entry

Reference: see Ruth Prowse: Thirty Years of Collecting; works by 12 Australian and other arists, essays by Nancy Sever, Tony Oates, David Boon and others. Includes essays on the artists.
Publishing details: Drill Hall Gallery, 2004, pb, 36pp

Fairweather Ianview full entry

Reference: see Ruth Prowse: Thirty Years of Collecting; works by 12 Australian and other arists, essays by Nancy Sever, Tony Oates, David Boon and others. Includes essays on the artists.
Publishing details: Drill Hall Gallery, 2004, pb, 36pp

Lincoln Kevinview full entry

Reference: see Ruth Prowse: Thirty Years of Collecting; works by 12 Australian and other arists, essays by Nancy Sever, Tony Oates, David Boon and others. Includes essays on the artists.
Publishing details: Drill Hall Gallery, 2004, pb, 36pp

Miller Godfreyview full entry

Reference: see Ruth Prowse: Thirty Years of Collecting; works by 12 Australian and other arists, essays by Nancy Sever, Tony Oates, David Boon and others. Includes essays on the artists.
Publishing details: Drill Hall Gallery, 2004, pb, 36pp

Schmeisser Jorgview full entry

Reference: see Ruth Prowse: Thirty Years of Collecting; works by 12 Australian and other arists, essays by Nancy Sever, Tony Oates, David Boon and others. Includes essays on the artists.
Publishing details: Drill Hall Gallery, 2004, pb, 36pp

Williams Fredview full entry

Reference: see Ruth Prowse: Thirty Years of Collecting; works by 12 Australian and other arists, essays by Nancy Sever, Tony Oates, David Boon and others. Includes essays on the artists.
Publishing details: Drill Hall Gallery, 2004, pb, 36pp

Cigarette cards Australian issues and valuesview full entry

Reference: Cigarette cards Australian issues and values, by Dion H. Skinner. Includes numerous illustrations as examples of cigarette cards, from Australian tobacco companies. No information on the artists of the cards.
Publishing details: Renniks Books, 1983-
v. : ill. (some col.)

Cigarette cards view full entry

Reference: see Cigarette cards Australian issues and values, by Dion H. Skinner. Includes numerous illustrations as examples of cigarette cards, from Australian tobacco companies. No information on the artists of the cards.
Publishing details: Renniks Books, 1983-
v. : ill. (some col.)

Graham Harold John 1858-1929view full entry

Reference: see National Library of Australia catalogue for various works including: H.J. Graham's sketchbook of scenes in Australia, Diego Garcia, Italy and Switzerland, 1884-1886.

Angus Max 1914-2017view full entry

Reference: Watercolours in Tasmania 1895 - 1995 - A painters view of the medium and its history over the past century, by Max Angus. Numerous watercolourists are mentioned with biographical information on some of them.
Publishing details: Max Angus, 1994, quarto, pb, 16pp. No illustrations.

Watercolours in Tasmania 1895 - 1995view full entry