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Boyd Arthur printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

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Boyd Arthur prints

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.

Publishing details: NGA, 2007, hc, dw, 328pp

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Whisson Ken printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

×

Whisson Ken prints

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.

Publishing details: NGA, 2007, hc, dw, 328pp

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French Leonard printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

×

French Leonard prints

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.

Publishing details: NGA, 2007, hc, dw, 328pp

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Rosengrave Harry printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

×

Rosengrave Harry prints

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.

Publishing details: NGA, 2007, hc, dw, 328pp

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Blackman Charles printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

×

Blackman Charles prints

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.

Publishing details: NGA, 2007, hc, dw, 328pp

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Salkauskas Henry printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

×

Salkauskas Henry prints

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.

Publishing details: NGA, 2007, hc, dw, 328pp

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Kahan Louis printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

×

Kahan Louis prints

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.

Publishing details: NGA, 2007, hc, dw, 328pp

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Stein Guenter printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

×

Stein Guenter prints

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.

Publishing details: NGA, 2007, hc, dw, 328pp

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Zikaras Teisutis printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

×

Zikaras Teisutis prints

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.

Publishing details: NGA, 2007, hc, dw, 328pp

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Strachan David printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

×

Strachan David prints

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.

Publishing details: NGA, 2007, hc, dw, 328pp

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Halpern Stacha printsview full entry

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.
Publishing details: NGA, 2007, hc, dw, 328pp

×

Halpern Stacha prints

Reference: see Printed - images by Australian artists 1885 - 1955 by Roger Butler. Includes Bibliography and Index. Includes information on artists within text.
This volume follows Australian printmaking through a seventy-year period, from the latter part of the nineteenth century as the print (freed from its reproductive bounds) became a vehicle for pure artistic expression; through the great social and political traumas of the first half of the twentieth century, when print was co-opted to carry a message; and concludes in the immediate postwar years with prints that signal the artists' search for meaning and an awareness of self.

Publishing details: NGA, 2007, hc, dw, 328pp

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Prints in Australiaview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Prints in Australia

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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posters (p 248-279)view full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

posters (p 248-279)

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Aboriginal artists prints before 2000 (p 280-323)view full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Aboriginal artists prints before 2000 (p 280-323)

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Torres Strait Islanders prints (p 324-335)view full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Torres Strait Islanders prints (p 324-335)

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Sumner Alan printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Sumner Alan prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Murray Lesley printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Murray Lesley prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Thake Eric printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Thake Eric prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Richmond Oliffe printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Richmond Oliffe prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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King Graham printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

King Graham prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Griffin Murray printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Griffin Murray prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Ratas Vaclovas printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Ratas Vaclovas prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Kubbos Eva printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Kubbos Eva prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Salkauskas Henry printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Salkauskas Henry prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Miksevicius Jurgis printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Miksevicius Jurgis prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Saline Gunars printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Saline Gunars prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Sellbach Udo printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Sellbach Udo prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Groblicka Lidia printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Groblicka Lidia prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Marek Voitre printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Marek Voitre prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Marek Dusan printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Marek Dusan prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Shearer Mitzi printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Shearer Mitzi prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Duldig Karl printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Duldig Karl prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Keky Eva printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Keky Eva prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Friedeberger Klaus printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Friedeberger Klaus prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Mayo Eileen printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Mayo Eileen prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Beck Richard printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Beck Richard prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Bainbridge John printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Bainbridge John prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Sellheim Gert printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Sellheim Gert prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Annand Douglas printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Annand Douglas prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Grieve Robert printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Grieve Robert prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Armstrong Ian printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Armstrong Ian prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Courier Jack printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Courier Jack prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Brown Geoffrey printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Brown Geoffrey prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Walker Murray printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Walker Murray prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Williams Fred printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Williams Fred prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Maddock Bea printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Maddock Bea prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Boyd Arthur printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Boyd Arthur prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Olsen John printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Olsen John prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Miller Max printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Miller Max printer

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Lanceley Colin printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Lanceley Colin prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Kelpra Studio print workshopview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Kelpra Studio print workshop

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Whiteley Brett printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Whiteley Brett prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Hanrahan Barbara printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Hanrahan Barbara prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Wicks Arthur printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Wicks Arthur prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Backen Earle printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Backen Earle prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Haxton Elaine printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Haxton Elaine prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Nolan Sidney printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Nolan Sidney prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Atelier 17 print workshopview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Atelier 17 print workshop

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Plate Carl printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Plate Carl prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Preston Margaret printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Preston Margaret prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Haselden Hubert photographerview full entry

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022:
Lettersheet with an engraving of Simon Wonga and Maria by Grosse, from a drawing by Nicholas Chevalier after a daguerreotype by Hubert Haselden. Sent from Bendigo, April, 1860.
sheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman. From Photographs by Haselden’; the imprint of the Melbourne publisher, George Slater, appears at the foot of the caption; the remainder of the first page and the two inner two pages are occupied by a manuscript letter, dated at Bendigo, 15 April 1860, from James F. Dewar to his wife (presumably in England or Scotland, as the letter’s content suggests); the last page is blank; the lettersheet – as explained by Dewar in his message – was enclosed inside another letter sent to his brother, and so lacks an address; original folds, complete and in fine condition.
The engraving on this rare lettersheet was published (but without the caption) by George Slater as the cover illustration for The Newsletter of Australasia, number IX, March 1857; however, the present version is on a separately issued lettersheet – also published by Slater – of which we have not been able to trace another example. As the present example has a handwritten communication dated 15 April 1860, we tentatively suggest that The Newsletter of Australasia printing was the primary one, and that this otherwise plain lettersheet was a secondary printing of the engraving – with a possible issue date of up to two or three years later than March 1857.
A third usage of the engraving, with the imprint of P. Brown, publisher, 120 Elizabeth Street, Melbourne (printed by Walker, May & Co.) is held in the National Library of Australia (Rex Nan Kivell Collection, NK9844/18.). This appears to be a separately issued engraving (sheet size 9.7 x 14 cm) – not a lettersheet. The NLA example is illustrated in Calling the shots : Aboriginal photographies (Jane Lydon, editor. Canberra : Aboriginal Studies Press, 2014, p 110). When we consider that P. Brown’s business premises in Elizabeth Street were located directly opposite Haselden’s photographic studio in 1857-58 (see below), it seems reasonable to speculate that this fact might argue the case for Brown’s imprint being even earlier than both of Slater’s.
A heavily re-worked version of the same engraving, with the generic caption ‘Natives‘, was pirated for use as one of the vignette illustrations in the chromolithographic souvenir produced in honour of the explorers Burke and Wills, The Melbourne Rose, Part II, which was printed in Hamburg by C. Adler’s Printing Establishment for the London publishers Joseph, Myers & Co., in 1862.
Jane Lydon comments on the image from the Nan Kivell Collection:
‘Like Kilburn a decade earlier, Hubert Haselden used a series of [daguerreotype] portraits of Kulin people to advertise his ‘Daguerrean & Photographic Artists’ Melbourne establishment. As is often the case where daguerreotypes have disappeared, the only surviving portrait from this series comprises an engraving, based on a drawing by Nicholas Chevalier, based on Haselden’s daguerreotype, of Wurundjeri man Simon Wonga, son of Wurundjeri ngurungaeta (leader) Billibellary and his wife Maria.
In 1862 the Illustrated Melbourne Post explained that Wonga had “considerable claims on our notice”, being “the son of of Jagga Jagga, the celebrated Port Phillip chief, and friend of Batman. The interesting couple will be readily recognised, not only by Melbournites, but by many through the surrounding districts, where Simon and his lubra pay their periodical visits.”
The Indigenous subjects were considered local celebrities, well known to the residents of the settlement and beyond. Wonga, in particular, played a key role in the fortunes of his people during these decades and was of considerable interest to European viewers. There is evidence that Wonga was equally interested in the results of photography: in 1857 he exchanged the nest and egg of a superb lyrebird, known by the Wurundjeri as the Bullan-Bullan, for two photographs – possibly even Haselden’s daguerreotypes….’ (ibid., pp 110-111).
In their essay A Letter Home to Scotland from Warrenheip in April 1857: Insights into Life in a Railway Survey Camp (Victorian Historical Journal, Volume 86, Number 2, December 2015, pp 363-380), Ian Clark and Beth Kicinski provide a discussion of a letter written on an issue of the News Letter of Australasia, number IX, March 1857, which was “discovered” in Scotland in 2012 and is now in Clark’s private collection:
‘On the front page of Issue 9, March 1857, was an illustration of two “Aborigines of Victoria”, with the following text: Our illustration this month consists of portraits of two well known Aborigines who have frequently visited Melbourne. The gradual declension of these people must give a singular interest to every faithful record of them. The present engraving was drawn by M. [sic] Chevalier, from daguerreotypes by H. Haselden. This should be N Chevalier [note: the authors are incorrect in their interpretation here, as the M. actually stands for Monsieur!], a reference to Nicholas Chevalier (1828-1902), a Russian-born artist son of Swiss-born Louis Chevalier and his Russian wife, who joined his father and brother Louis in Victoria in early 1855. His artistic talents were used by newly established Melbourne newspapers, such as the Melbourne Punch and the News Letter of Australasia, so he decided to stay in Victoria. Hubert Haselden operated in Melbourne from 1857 to 1858 at the following locations: 107 Elizabeth Street (1857–58); 57 Collins Street East (1857); 234 Bourke Street North (1858). Prussian-born Frederick Grosse engraved illustrations for the newspaper from August 1855. The wood engraving by Grosse is entitled ‘Portraits of an Aboriginal woman, an average type of the native woman of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip chief and friend of Batman’. Jagga Jagga is a reference to Billibellary, the eminent Wurundjeri-willam ngurungaeta (clan head) (c.1799–1846), one of the signatories [to] John Batman’s 1835 ‘treaty’ with the Melbourne Aborigines. Simon Wonga (b. c.1824) was his eldest son and rightful heir and was recognised as ngurungaeta until his death in 1874; he married a Wathawurrung woman. Presumably the woman pictured beside Simon Wonga in this portrait is his wife, Maria.’ (Maria was photographed at Coranderrk by Charles Walter in 1866).
Full transcription of James Dewar’s letter to his wife:
‘Bendigo, 15 April 1860.
My Dear Wife,
I am Writing John by this Post & enclose you these few lines – I was surprised at not hearing from your self as I wanted much to hear about the children – and wether you were inclined to come out here as I had made arrangements as far as I could do to receive you all – Let them all know now that I am to leave this [country] if spared about a year hence for home & will be glad to hear from you & the children in the meantime. I do think still it would have been far better had you & the children come out as their Prospects would have been better here – however I can say I have done all I could for your sakes & theirs but be assured there are difficulties to be met with here as well as at home – and that all [who] come here do not make fortunes. Now my dear as I am looking ancious forward to meeting you & the children let nothing like [shyness?] be between us but write to me immediately on receipt of this. You can form no idea of the feelings one experience[s] on receiving a letter from home especially from a Wife so far distant – My Dear do make the children add a few lines as I should be so pleased of it. I must bid you adew at Present. I remain your ever affectionate Husband, James F. Dewar.
Publishing details: Melbourne : Geo. Slater, publisher, [between 1857 and 1860]. Lettersheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman.

×

Haselden Hubert photographer

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022:
Lettersheet with an engraving of Simon Wonga and Maria by Grosse, from a drawing by Nicholas Chevalier after a daguerreotype by Hubert Haselden. Sent from Bendigo, April, 1860.
sheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman. From Photographs by Haselden’; the imprint of the Melbourne publisher, George Slater, appears at the foot of the caption; the remainder of the first page and the two inner two pages are occupied by a manuscript letter, dated at Bendigo, 15 April 1860, from James F. Dewar to his wife (presumably in England or Scotland, as the letter’s content suggests); the last page is blank; the lettersheet – as explained by Dewar in his message – was enclosed inside another letter sent to his brother, and so lacks an address; original folds, complete and in fine condition.
The engraving on this rare lettersheet was published (but without the caption) by George Slater as the cover illustration for The Newsletter of Australasia, number IX, March 1857; however, the present version is on a separately issued lettersheet – also published by Slater – of which we have not been able to trace another example. As the present example has a handwritten communication dated 15 April 1860, we tentatively suggest that The Newsletter of Australasia printing was the primary one, and that this otherwise plain lettersheet was a secondary printing of the engraving – with a possible issue date of up to two or three years later than March 1857.
A third usage of the engraving, with the imprint of P. Brown, publisher, 120 Elizabeth Street, Melbourne (printed by Walker, May & Co.) is held in the National Library of Australia (Rex Nan Kivell Collection, NK9844/18.). This appears to be a separately issued engraving (sheet size 9.7 x 14 cm) – not a lettersheet. The NLA example is illustrated in Calling the shots : Aboriginal photographies (Jane Lydon, editor. Canberra : Aboriginal Studies Press, 2014, p 110). When we consider that P. Brown’s business premises in Elizabeth Street were located directly opposite Haselden’s photographic studio in 1857-58 (see below), it seems reasonable to speculate that this fact might argue the case for Brown’s imprint being even earlier than both of Slater’s.
A heavily re-worked version of the same engraving, with the generic caption ‘Natives‘, was pirated for use as one of the vignette illustrations in the chromolithographic souvenir produced in honour of the explorers Burke and Wills, The Melbourne Rose, Part II, which was printed in Hamburg by C. Adler’s Printing Establishment for the London publishers Joseph, Myers & Co., in 1862.
Jane Lydon comments on the image from the Nan Kivell Collection:
‘Like Kilburn a decade earlier, Hubert Haselden used a series of [daguerreotype] portraits of Kulin people to advertise his ‘Daguerrean & Photographic Artists’ Melbourne establishment. As is often the case where daguerreotypes have disappeared, the only surviving portrait from this series comprises an engraving, based on a drawing by Nicholas Chevalier, based on Haselden’s daguerreotype, of Wurundjeri man Simon Wonga, son of Wurundjeri ngurungaeta (leader) Billibellary and his wife Maria.
In 1862 the Illustrated Melbourne Post explained that Wonga had “considerable claims on our notice”, being “the son of of Jagga Jagga, the celebrated Port Phillip chief, and friend of Batman. The interesting couple will be readily recognised, not only by Melbournites, but by many through the surrounding districts, where Simon and his lubra pay their periodical visits.”
The Indigenous subjects were considered local celebrities, well known to the residents of the settlement and beyond. Wonga, in particular, played a key role in the fortunes of his people during these decades and was of considerable interest to European viewers. There is evidence that Wonga was equally interested in the results of photography: in 1857 he exchanged the nest and egg of a superb lyrebird, known by the Wurundjeri as the Bullan-Bullan, for two photographs – possibly even Haselden’s daguerreotypes….’ (ibid., pp 110-111).
In their essay A Letter Home to Scotland from Warrenheip in April 1857: Insights into Life in a Railway Survey Camp (Victorian Historical Journal, Volume 86, Number 2, December 2015, pp 363-380), Ian Clark and Beth Kicinski provide a discussion of a letter written on an issue of the News Letter of Australasia, number IX, March 1857, which was “discovered” in Scotland in 2012 and is now in Clark’s private collection:
‘On the front page of Issue 9, March 1857, was an illustration of two “Aborigines of Victoria”, with the following text: Our illustration this month consists of portraits of two well known Aborigines who have frequently visited Melbourne. The gradual declension of these people must give a singular interest to every faithful record of them. The present engraving was drawn by M. [sic] Chevalier, from daguerreotypes by H. Haselden. This should be N Chevalier [note: the authors are incorrect in their interpretation here, as the M. actually stands for Monsieur!], a reference to Nicholas Chevalier (1828-1902), a Russian-born artist son of Swiss-born Louis Chevalier and his Russian wife, who joined his father and brother Louis in Victoria in early 1855. His artistic talents were used by newly established Melbourne newspapers, such as the Melbourne Punch and the News Letter of Australasia, so he decided to stay in Victoria. Hubert Haselden operated in Melbourne from 1857 to 1858 at the following locations: 107 Elizabeth Street (1857–58); 57 Collins Street East (1857); 234 Bourke Street North (1858). Prussian-born Frederick Grosse engraved illustrations for the newspaper from August 1855. The wood engraving by Grosse is entitled ‘Portraits of an Aboriginal woman, an average type of the native woman of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip chief and friend of Batman’. Jagga Jagga is a reference to Billibellary, the eminent Wurundjeri-willam ngurungaeta (clan head) (c.1799–1846), one of the signatories [to] John Batman’s 1835 ‘treaty’ with the Melbourne Aborigines. Simon Wonga (b. c.1824) was his eldest son and rightful heir and was recognised as ngurungaeta until his death in 1874; he married a Wathawurrung woman. Presumably the woman pictured beside Simon Wonga in this portrait is his wife, Maria.’ (Maria was photographed at Coranderrk by Charles Walter in 1866).
Full transcription of James Dewar’s letter to his wife:
‘Bendigo, 15 April 1860.
My Dear Wife,
I am Writing John by this Post & enclose you these few lines – I was surprised at not hearing from your self as I wanted much to hear about the children – and wether you were inclined to come out here as I had made arrangements as far as I could do to receive you all – Let them all know now that I am to leave this [country] if spared about a year hence for home & will be glad to hear from you & the children in the meantime. I do think still it would have been far better had you & the children come out as their Prospects would have been better here – however I can say I have done all I could for your sakes & theirs but be assured there are difficulties to be met with here as well as at home – and that all [who] come here do not make fortunes. Now my dear as I am looking ancious forward to meeting you & the children let nothing like [shyness?] be between us but write to me immediately on receipt of this. You can form no idea of the feelings one experience[s] on receiving a letter from home especially from a Wife so far distant – My Dear do make the children add a few lines as I should be so pleased of it. I must bid you adew at Present. I remain your ever affectionate Husband, James F. Dewar.

Publishing details: Melbourne : Geo. Slater, publisher, [between 1857 and 1860]. Lettersheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman.

Location:

Close

Chevalier Nicholasview full entry

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022:
Lettersheet with an engraving of Simon Wonga and Maria by Grosse, from a drawing by Nicholas Chevalier after a daguerreotype by Hubert Haselden. Sent from Bendigo, April, 1860.
sheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman. From Photographs by Haselden’; the imprint of the Melbourne publisher, George Slater, appears at the foot of the caption; the remainder of the first page and the two inner two pages are occupied by a manuscript letter, dated at Bendigo, 15 April 1860, from James F. Dewar to his wife (presumably in England or Scotland, as the letter’s content suggests); the last page is blank; the lettersheet – as explained by Dewar in his message – was enclosed inside another letter sent to his brother, and so lacks an address; original folds, complete and in fine condition.
The engraving on this rare lettersheet was published (but without the caption) by George Slater as the cover illustration for The Newsletter of Australasia, number IX, March 1857; however, the present version is on a separately issued lettersheet – also published by Slater – of which we have not been able to trace another example. As the present example has a handwritten communication dated 15 April 1860, we tentatively suggest that The Newsletter of Australasia printing was the primary one, and that this otherwise plain lettersheet was a secondary printing of the engraving – with a possible issue date of up to two or three years later than March 1857.
A third usage of the engraving, with the imprint of P. Brown, publisher, 120 Elizabeth Street, Melbourne (printed by Walker, May & Co.) is held in the National Library of Australia (Rex Nan Kivell Collection, NK9844/18.). This appears to be a separately issued engraving (sheet size 9.7 x 14 cm) – not a lettersheet. The NLA example is illustrated in Calling the shots : Aboriginal photographies (Jane Lydon, editor. Canberra : Aboriginal Studies Press, 2014, p 110). When we consider that P. Brown’s business premises in Elizabeth Street were located directly opposite Haselden’s photographic studio in 1857-58 (see below), it seems reasonable to speculate that this fact might argue the case for Brown’s imprint being even earlier than both of Slater’s.
A heavily re-worked version of the same engraving, with the generic caption ‘Natives‘, was pirated for use as one of the vignette illustrations in the chromolithographic souvenir produced in honour of the explorers Burke and Wills, The Melbourne Rose, Part II, which was printed in Hamburg by C. Adler’s Printing Establishment for the London publishers Joseph, Myers & Co., in 1862.
Jane Lydon comments on the image from the Nan Kivell Collection:
‘Like Kilburn a decade earlier, Hubert Haselden used a series of [daguerreotype] portraits of Kulin people to advertise his ‘Daguerrean & Photographic Artists’ Melbourne establishment. As is often the case where daguerreotypes have disappeared, the only surviving portrait from this series comprises an engraving, based on a drawing by Nicholas Chevalier, based on Haselden’s daguerreotype, of Wurundjeri man Simon Wonga, son of Wurundjeri ngurungaeta (leader) Billibellary and his wife Maria.
In 1862 the Illustrated Melbourne Post explained that Wonga had “considerable claims on our notice”, being “the son of of Jagga Jagga, the celebrated Port Phillip chief, and friend of Batman. The interesting couple will be readily recognised, not only by Melbournites, but by many through the surrounding districts, where Simon and his lubra pay their periodical visits.”
The Indigenous subjects were considered local celebrities, well known to the residents of the settlement and beyond. Wonga, in particular, played a key role in the fortunes of his people during these decades and was of considerable interest to European viewers. There is evidence that Wonga was equally interested in the results of photography: in 1857 he exchanged the nest and egg of a superb lyrebird, known by the Wurundjeri as the Bullan-Bullan, for two photographs – possibly even Haselden’s daguerreotypes….’ (ibid., pp 110-111).
In their essay A Letter Home to Scotland from Warrenheip in April 1857: Insights into Life in a Railway Survey Camp (Victorian Historical Journal, Volume 86, Number 2, December 2015, pp 363-380), Ian Clark and Beth Kicinski provide a discussion of a letter written on an issue of the News Letter of Australasia, number IX, March 1857, which was “discovered” in Scotland in 2012 and is now in Clark’s private collection:
‘On the front page of Issue 9, March 1857, was an illustration of two “Aborigines of Victoria”, with the following text: Our illustration this month consists of portraits of two well known Aborigines who have frequently visited Melbourne. The gradual declension of these people must give a singular interest to every faithful record of them. The present engraving was drawn by M. [sic] Chevalier, from daguerreotypes by H. Haselden. This should be N Chevalier [note: the authors are incorrect in their interpretation here, as the M. actually stands for Monsieur!], a reference to Nicholas Chevalier (1828-1902), a Russian-born artist son of Swiss-born Louis Chevalier and his Russian wife, who joined his father and brother Louis in Victoria in early 1855. His artistic talents were used by newly established Melbourne newspapers, such as the Melbourne Punch and the News Letter of Australasia, so he decided to stay in Victoria. Hubert Haselden operated in Melbourne from 1857 to 1858 at the following locations: 107 Elizabeth Street (1857–58); 57 Collins Street East (1857); 234 Bourke Street North (1858). Prussian-born Frederick Grosse engraved illustrations for the newspaper from August 1855. The wood engraving by Grosse is entitled ‘Portraits of an Aboriginal woman, an average type of the native woman of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip chief and friend of Batman’. Jagga Jagga is a reference to Billibellary, the eminent Wurundjeri-willam ngurungaeta (clan head) (c.1799–1846), one of the signatories [to] John Batman’s 1835 ‘treaty’ with the Melbourne Aborigines. Simon Wonga (b. c.1824) was his eldest son and rightful heir and was recognised as ngurungaeta until his death in 1874; he married a Wathawurrung woman. Presumably the woman pictured beside Simon Wonga in this portrait is his wife, Maria.’ (Maria was photographed at Coranderrk by Charles Walter in 1866).
Full transcription of James Dewar’s letter to his wife:
‘Bendigo, 15 April 1860.
My Dear Wife,
I am Writing John by this Post & enclose you these few lines – I was surprised at not hearing from your self as I wanted much to hear about the children – and wether you were inclined to come out here as I had made arrangements as far as I could do to receive you all – Let them all know now that I am to leave this [country] if spared about a year hence for home & will be glad to hear from you & the children in the meantime. I do think still it would have been far better had you & the children come out as their Prospects would have been better here – however I can say I have done all I could for your sakes & theirs but be assured there are difficulties to be met with here as well as at home – and that all [who] come here do not make fortunes. Now my dear as I am looking ancious forward to meeting you & the children let nothing like [shyness?] be between us but write to me immediately on receipt of this. You can form no idea of the feelings one experience[s] on receiving a letter from home especially from a Wife so far distant – My Dear do make the children add a few lines as I should be so pleased of it. I must bid you adew at Present. I remain your ever affectionate Husband, James F. Dewar.
Publishing details: Melbourne : Geo. Slater, publisher, [between 1857 and 1860]. Lettersheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman.

×

Chevalier Nicholas

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022:
Lettersheet with an engraving of Simon Wonga and Maria by Grosse, from a drawing by Nicholas Chevalier after a daguerreotype by Hubert Haselden. Sent from Bendigo, April, 1860.
sheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman. From Photographs by Haselden’; the imprint of the Melbourne publisher, George Slater, appears at the foot of the caption; the remainder of the first page and the two inner two pages are occupied by a manuscript letter, dated at Bendigo, 15 April 1860, from James F. Dewar to his wife (presumably in England or Scotland, as the letter’s content suggests); the last page is blank; the lettersheet – as explained by Dewar in his message – was enclosed inside another letter sent to his brother, and so lacks an address; original folds, complete and in fine condition.
The engraving on this rare lettersheet was published (but without the caption) by George Slater as the cover illustration for The Newsletter of Australasia, number IX, March 1857; however, the present version is on a separately issued lettersheet – also published by Slater – of which we have not been able to trace another example. As the present example has a handwritten communication dated 15 April 1860, we tentatively suggest that The Newsletter of Australasia printing was the primary one, and that this otherwise plain lettersheet was a secondary printing of the engraving – with a possible issue date of up to two or three years later than March 1857.
A third usage of the engraving, with the imprint of P. Brown, publisher, 120 Elizabeth Street, Melbourne (printed by Walker, May & Co.) is held in the National Library of Australia (Rex Nan Kivell Collection, NK9844/18.). This appears to be a separately issued engraving (sheet size 9.7 x 14 cm) – not a lettersheet. The NLA example is illustrated in Calling the shots : Aboriginal photographies (Jane Lydon, editor. Canberra : Aboriginal Studies Press, 2014, p 110). When we consider that P. Brown’s business premises in Elizabeth Street were located directly opposite Haselden’s photographic studio in 1857-58 (see below), it seems reasonable to speculate that this fact might argue the case for Brown’s imprint being even earlier than both of Slater’s.
A heavily re-worked version of the same engraving, with the generic caption ‘Natives‘, was pirated for use as one of the vignette illustrations in the chromolithographic souvenir produced in honour of the explorers Burke and Wills, The Melbourne Rose, Part II, which was printed in Hamburg by C. Adler’s Printing Establishment for the London publishers Joseph, Myers & Co., in 1862.
Jane Lydon comments on the image from the Nan Kivell Collection:
‘Like Kilburn a decade earlier, Hubert Haselden used a series of [daguerreotype] portraits of Kulin people to advertise his ‘Daguerrean & Photographic Artists’ Melbourne establishment. As is often the case where daguerreotypes have disappeared, the only surviving portrait from this series comprises an engraving, based on a drawing by Nicholas Chevalier, based on Haselden’s daguerreotype, of Wurundjeri man Simon Wonga, son of Wurundjeri ngurungaeta (leader) Billibellary and his wife Maria.
In 1862 the Illustrated Melbourne Post explained that Wonga had “considerable claims on our notice”, being “the son of of Jagga Jagga, the celebrated Port Phillip chief, and friend of Batman. The interesting couple will be readily recognised, not only by Melbournites, but by many through the surrounding districts, where Simon and his lubra pay their periodical visits.”
The Indigenous subjects were considered local celebrities, well known to the residents of the settlement and beyond. Wonga, in particular, played a key role in the fortunes of his people during these decades and was of considerable interest to European viewers. There is evidence that Wonga was equally interested in the results of photography: in 1857 he exchanged the nest and egg of a superb lyrebird, known by the Wurundjeri as the Bullan-Bullan, for two photographs – possibly even Haselden’s daguerreotypes….’ (ibid., pp 110-111).
In their essay A Letter Home to Scotland from Warrenheip in April 1857: Insights into Life in a Railway Survey Camp (Victorian Historical Journal, Volume 86, Number 2, December 2015, pp 363-380), Ian Clark and Beth Kicinski provide a discussion of a letter written on an issue of the News Letter of Australasia, number IX, March 1857, which was “discovered” in Scotland in 2012 and is now in Clark’s private collection:
‘On the front page of Issue 9, March 1857, was an illustration of two “Aborigines of Victoria”, with the following text: Our illustration this month consists of portraits of two well known Aborigines who have frequently visited Melbourne. The gradual declension of these people must give a singular interest to every faithful record of them. The present engraving was drawn by M. [sic] Chevalier, from daguerreotypes by H. Haselden. This should be N Chevalier [note: the authors are incorrect in their interpretation here, as the M. actually stands for Monsieur!], a reference to Nicholas Chevalier (1828-1902), a Russian-born artist son of Swiss-born Louis Chevalier and his Russian wife, who joined his father and brother Louis in Victoria in early 1855. His artistic talents were used by newly established Melbourne newspapers, such as the Melbourne Punch and the News Letter of Australasia, so he decided to stay in Victoria. Hubert Haselden operated in Melbourne from 1857 to 1858 at the following locations: 107 Elizabeth Street (1857–58); 57 Collins Street East (1857); 234 Bourke Street North (1858). Prussian-born Frederick Grosse engraved illustrations for the newspaper from August 1855. The wood engraving by Grosse is entitled ‘Portraits of an Aboriginal woman, an average type of the native woman of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip chief and friend of Batman’. Jagga Jagga is a reference to Billibellary, the eminent Wurundjeri-willam ngurungaeta (clan head) (c.1799–1846), one of the signatories [to] John Batman’s 1835 ‘treaty’ with the Melbourne Aborigines. Simon Wonga (b. c.1824) was his eldest son and rightful heir and was recognised as ngurungaeta until his death in 1874; he married a Wathawurrung woman. Presumably the woman pictured beside Simon Wonga in this portrait is his wife, Maria.’ (Maria was photographed at Coranderrk by Charles Walter in 1866).
Full transcription of James Dewar’s letter to his wife:
‘Bendigo, 15 April 1860.
My Dear Wife,
I am Writing John by this Post & enclose you these few lines – I was surprised at not hearing from your self as I wanted much to hear about the children – and wether you were inclined to come out here as I had made arrangements as far as I could do to receive you all – Let them all know now that I am to leave this [country] if spared about a year hence for home & will be glad to hear from you & the children in the meantime. I do think still it would have been far better had you & the children come out as their Prospects would have been better here – however I can say I have done all I could for your sakes & theirs but be assured there are difficulties to be met with here as well as at home – and that all [who] come here do not make fortunes. Now my dear as I am looking ancious forward to meeting you & the children let nothing like [shyness?] be between us but write to me immediately on receipt of this. You can form no idea of the feelings one experience[s] on receiving a letter from home especially from a Wife so far distant – My Dear do make the children add a few lines as I should be so pleased of it. I must bid you adew at Present. I remain your ever affectionate Husband, James F. Dewar.

Publishing details: Melbourne : Geo. Slater, publisher, [between 1857 and 1860]. Lettersheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman.

Location:

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Grosse Frederick engraverview full entry

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022:
Lettersheet with an engraving of Simon Wonga and Maria by Grosse, from a drawing by Nicholas Chevalier after a daguerreotype by Hubert Haselden. Sent from Bendigo, April, 1860.
sheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman. From Photographs by Haselden’; the imprint of the Melbourne publisher, George Slater, appears at the foot of the caption; the remainder of the first page and the two inner two pages are occupied by a manuscript letter, dated at Bendigo, 15 April 1860, from James F. Dewar to his wife (presumably in England or Scotland, as the letter’s content suggests); the last page is blank; the lettersheet – as explained by Dewar in his message – was enclosed inside another letter sent to his brother, and so lacks an address; original folds, complete and in fine condition.
The engraving on this rare lettersheet was published (but without the caption) by George Slater as the cover illustration for The Newsletter of Australasia, number IX, March 1857; however, the present version is on a separately issued lettersheet – also published by Slater – of which we have not been able to trace another example. As the present example has a handwritten communication dated 15 April 1860, we tentatively suggest that The Newsletter of Australasia printing was the primary one, and that this otherwise plain lettersheet was a secondary printing of the engraving – with a possible issue date of up to two or three years later than March 1857.
A third usage of the engraving, with the imprint of P. Brown, publisher, 120 Elizabeth Street, Melbourne (printed by Walker, May & Co.) is held in the National Library of Australia (Rex Nan Kivell Collection, NK9844/18.). This appears to be a separately issued engraving (sheet size 9.7 x 14 cm) – not a lettersheet. The NLA example is illustrated in Calling the shots : Aboriginal photographies (Jane Lydon, editor. Canberra : Aboriginal Studies Press, 2014, p 110). When we consider that P. Brown’s business premises in Elizabeth Street were located directly opposite Haselden’s photographic studio in 1857-58 (see below), it seems reasonable to speculate that this fact might argue the case for Brown’s imprint being even earlier than both of Slater’s.
A heavily re-worked version of the same engraving, with the generic caption ‘Natives‘, was pirated for use as one of the vignette illustrations in the chromolithographic souvenir produced in honour of the explorers Burke and Wills, The Melbourne Rose, Part II, which was printed in Hamburg by C. Adler’s Printing Establishment for the London publishers Joseph, Myers & Co., in 1862.
Jane Lydon comments on the image from the Nan Kivell Collection:
‘Like Kilburn a decade earlier, Hubert Haselden used a series of [daguerreotype] portraits of Kulin people to advertise his ‘Daguerrean & Photographic Artists’ Melbourne establishment. As is often the case where daguerreotypes have disappeared, the only surviving portrait from this series comprises an engraving, based on a drawing by Nicholas Chevalier, based on Haselden’s daguerreotype, of Wurundjeri man Simon Wonga, son of Wurundjeri ngurungaeta (leader) Billibellary and his wife Maria.
In 1862 the Illustrated Melbourne Post explained that Wonga had “considerable claims on our notice”, being “the son of of Jagga Jagga, the celebrated Port Phillip chief, and friend of Batman. The interesting couple will be readily recognised, not only by Melbournites, but by many through the surrounding districts, where Simon and his lubra pay their periodical visits.”
The Indigenous subjects were considered local celebrities, well known to the residents of the settlement and beyond. Wonga, in particular, played a key role in the fortunes of his people during these decades and was of considerable interest to European viewers. There is evidence that Wonga was equally interested in the results of photography: in 1857 he exchanged the nest and egg of a superb lyrebird, known by the Wurundjeri as the Bullan-Bullan, for two photographs – possibly even Haselden’s daguerreotypes….’ (ibid., pp 110-111).
In their essay A Letter Home to Scotland from Warrenheip in April 1857: Insights into Life in a Railway Survey Camp (Victorian Historical Journal, Volume 86, Number 2, December 2015, pp 363-380), Ian Clark and Beth Kicinski provide a discussion of a letter written on an issue of the News Letter of Australasia, number IX, March 1857, which was “discovered” in Scotland in 2012 and is now in Clark’s private collection:
‘On the front page of Issue 9, March 1857, was an illustration of two “Aborigines of Victoria”, with the following text: Our illustration this month consists of portraits of two well known Aborigines who have frequently visited Melbourne. The gradual declension of these people must give a singular interest to every faithful record of them. The present engraving was drawn by M. [sic] Chevalier, from daguerreotypes by H. Haselden. This should be N Chevalier [note: the authors are incorrect in their interpretation here, as the M. actually stands for Monsieur!], a reference to Nicholas Chevalier (1828-1902), a Russian-born artist son of Swiss-born Louis Chevalier and his Russian wife, who joined his father and brother Louis in Victoria in early 1855. His artistic talents were used by newly established Melbourne newspapers, such as the Melbourne Punch and the News Letter of Australasia, so he decided to stay in Victoria. Hubert Haselden operated in Melbourne from 1857 to 1858 at the following locations: 107 Elizabeth Street (1857–58); 57 Collins Street East (1857); 234 Bourke Street North (1858). Prussian-born Frederick Grosse engraved illustrations for the newspaper from August 1855. The wood engraving by Grosse is entitled ‘Portraits of an Aboriginal woman, an average type of the native woman of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip chief and friend of Batman’. Jagga Jagga is a reference to Billibellary, the eminent Wurundjeri-willam ngurungaeta (clan head) (c.1799–1846), one of the signatories [to] John Batman’s 1835 ‘treaty’ with the Melbourne Aborigines. Simon Wonga (b. c.1824) was his eldest son and rightful heir and was recognised as ngurungaeta until his death in 1874; he married a Wathawurrung woman. Presumably the woman pictured beside Simon Wonga in this portrait is his wife, Maria.’ (Maria was photographed at Coranderrk by Charles Walter in 1866).
Full transcription of James Dewar’s letter to his wife:
‘Bendigo, 15 April 1860.
My Dear Wife,
I am Writing John by this Post & enclose you these few lines – I was surprised at not hearing from your self as I wanted much to hear about the children – and wether you were inclined to come out here as I had made arrangements as far as I could do to receive you all – Let them all know now that I am to leave this [country] if spared about a year hence for home & will be glad to hear from you & the children in the meantime. I do think still it would have been far better had you & the children come out as their Prospects would have been better here – however I can say I have done all I could for your sakes & theirs but be assured there are difficulties to be met with here as well as at home – and that all [who] come here do not make fortunes. Now my dear as I am looking ancious forward to meeting you & the children let nothing like [shyness?] be between us but write to me immediately on receipt of this. You can form no idea of the feelings one experience[s] on receiving a letter from home especially from a Wife so far distant – My Dear do make the children add a few lines as I should be so pleased of it. I must bid you adew at Present. I remain your ever affectionate Husband, James F. Dewar.
Publishing details: Melbourne : Geo. Slater, publisher, [between 1857 and 1860]. Lettersheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman.

×

Grosse Frederick engraver

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022:
Lettersheet with an engraving of Simon Wonga and Maria by Grosse, from a drawing by Nicholas Chevalier after a daguerreotype by Hubert Haselden. Sent from Bendigo, April, 1860.
sheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman. From Photographs by Haselden’; the imprint of the Melbourne publisher, George Slater, appears at the foot of the caption; the remainder of the first page and the two inner two pages are occupied by a manuscript letter, dated at Bendigo, 15 April 1860, from James F. Dewar to his wife (presumably in England or Scotland, as the letter’s content suggests); the last page is blank; the lettersheet – as explained by Dewar in his message – was enclosed inside another letter sent to his brother, and so lacks an address; original folds, complete and in fine condition.
The engraving on this rare lettersheet was published (but without the caption) by George Slater as the cover illustration for The Newsletter of Australasia, number IX, March 1857; however, the present version is on a separately issued lettersheet – also published by Slater – of which we have not been able to trace another example. As the present example has a handwritten communication dated 15 April 1860, we tentatively suggest that The Newsletter of Australasia printing was the primary one, and that this otherwise plain lettersheet was a secondary printing of the engraving – with a possible issue date of up to two or three years later than March 1857.
A third usage of the engraving, with the imprint of P. Brown, publisher, 120 Elizabeth Street, Melbourne (printed by Walker, May & Co.) is held in the National Library of Australia (Rex Nan Kivell Collection, NK9844/18.). This appears to be a separately issued engraving (sheet size 9.7 x 14 cm) – not a lettersheet. The NLA example is illustrated in Calling the shots : Aboriginal photographies (Jane Lydon, editor. Canberra : Aboriginal Studies Press, 2014, p 110). When we consider that P. Brown’s business premises in Elizabeth Street were located directly opposite Haselden’s photographic studio in 1857-58 (see below), it seems reasonable to speculate that this fact might argue the case for Brown’s imprint being even earlier than both of Slater’s.
A heavily re-worked version of the same engraving, with the generic caption ‘Natives‘, was pirated for use as one of the vignette illustrations in the chromolithographic souvenir produced in honour of the explorers Burke and Wills, The Melbourne Rose, Part II, which was printed in Hamburg by C. Adler’s Printing Establishment for the London publishers Joseph, Myers & Co., in 1862.
Jane Lydon comments on the image from the Nan Kivell Collection:
‘Like Kilburn a decade earlier, Hubert Haselden used a series of [daguerreotype] portraits of Kulin people to advertise his ‘Daguerrean & Photographic Artists’ Melbourne establishment. As is often the case where daguerreotypes have disappeared, the only surviving portrait from this series comprises an engraving, based on a drawing by Nicholas Chevalier, based on Haselden’s daguerreotype, of Wurundjeri man Simon Wonga, son of Wurundjeri ngurungaeta (leader) Billibellary and his wife Maria.
In 1862 the Illustrated Melbourne Post explained that Wonga had “considerable claims on our notice”, being “the son of of Jagga Jagga, the celebrated Port Phillip chief, and friend of Batman. The interesting couple will be readily recognised, not only by Melbournites, but by many through the surrounding districts, where Simon and his lubra pay their periodical visits.”
The Indigenous subjects were considered local celebrities, well known to the residents of the settlement and beyond. Wonga, in particular, played a key role in the fortunes of his people during these decades and was of considerable interest to European viewers. There is evidence that Wonga was equally interested in the results of photography: in 1857 he exchanged the nest and egg of a superb lyrebird, known by the Wurundjeri as the Bullan-Bullan, for two photographs – possibly even Haselden’s daguerreotypes….’ (ibid., pp 110-111).
In their essay A Letter Home to Scotland from Warrenheip in April 1857: Insights into Life in a Railway Survey Camp (Victorian Historical Journal, Volume 86, Number 2, December 2015, pp 363-380), Ian Clark and Beth Kicinski provide a discussion of a letter written on an issue of the News Letter of Australasia, number IX, March 1857, which was “discovered” in Scotland in 2012 and is now in Clark’s private collection:
‘On the front page of Issue 9, March 1857, was an illustration of two “Aborigines of Victoria”, with the following text: Our illustration this month consists of portraits of two well known Aborigines who have frequently visited Melbourne. The gradual declension of these people must give a singular interest to every faithful record of them. The present engraving was drawn by M. [sic] Chevalier, from daguerreotypes by H. Haselden. This should be N Chevalier [note: the authors are incorrect in their interpretation here, as the M. actually stands for Monsieur!], a reference to Nicholas Chevalier (1828-1902), a Russian-born artist son of Swiss-born Louis Chevalier and his Russian wife, who joined his father and brother Louis in Victoria in early 1855. His artistic talents were used by newly established Melbourne newspapers, such as the Melbourne Punch and the News Letter of Australasia, so he decided to stay in Victoria. Hubert Haselden operated in Melbourne from 1857 to 1858 at the following locations: 107 Elizabeth Street (1857–58); 57 Collins Street East (1857); 234 Bourke Street North (1858). Prussian-born Frederick Grosse engraved illustrations for the newspaper from August 1855. The wood engraving by Grosse is entitled ‘Portraits of an Aboriginal woman, an average type of the native woman of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip chief and friend of Batman’. Jagga Jagga is a reference to Billibellary, the eminent Wurundjeri-willam ngurungaeta (clan head) (c.1799–1846), one of the signatories [to] John Batman’s 1835 ‘treaty’ with the Melbourne Aborigines. Simon Wonga (b. c.1824) was his eldest son and rightful heir and was recognised as ngurungaeta until his death in 1874; he married a Wathawurrung woman. Presumably the woman pictured beside Simon Wonga in this portrait is his wife, Maria.’ (Maria was photographed at Coranderrk by Charles Walter in 1866).
Full transcription of James Dewar’s letter to his wife:
‘Bendigo, 15 April 1860.
My Dear Wife,
I am Writing John by this Post & enclose you these few lines – I was surprised at not hearing from your self as I wanted much to hear about the children – and wether you were inclined to come out here as I had made arrangements as far as I could do to receive you all – Let them all know now that I am to leave this [country] if spared about a year hence for home & will be glad to hear from you & the children in the meantime. I do think still it would have been far better had you & the children come out as their Prospects would have been better here – however I can say I have done all I could for your sakes & theirs but be assured there are difficulties to be met with here as well as at home – and that all [who] come here do not make fortunes. Now my dear as I am looking ancious forward to meeting you & the children let nothing like [shyness?] be between us but write to me immediately on receipt of this. You can form no idea of the feelings one experience[s] on receiving a letter from home especially from a Wife so far distant – My Dear do make the children add a few lines as I should be so pleased of it. I must bid you adew at Present. I remain your ever affectionate Husband, James F. Dewar.

Publishing details: Melbourne : Geo. Slater, publisher, [between 1857 and 1860]. Lettersheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman.

Location:

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Slater George publisherview full entry

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022:
Lettersheet with an engraving of Simon Wonga and Maria by Grosse, from a drawing by Nicholas Chevalier after a daguerreotype by Hubert Haselden. Sent from Bendigo, April, 1860.
sheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman. From Photographs by Haselden’; the imprint of the Melbourne publisher, George Slater, appears at the foot of the caption; the remainder of the first page and the two inner two pages are occupied by a manuscript letter, dated at Bendigo, 15 April 1860, from James F. Dewar to his wife (presumably in England or Scotland, as the letter’s content suggests); the last page is blank; the lettersheet – as explained by Dewar in his message – was enclosed inside another letter sent to his brother, and so lacks an address; original folds, complete and in fine condition.
The engraving on this rare lettersheet was published (but without the caption) by George Slater as the cover illustration for The Newsletter of Australasia, number IX, March 1857; however, the present version is on a separately issued lettersheet – also published by Slater – of which we have not been able to trace another example. As the present example has a handwritten communication dated 15 April 1860, we tentatively suggest that The Newsletter of Australasia printing was the primary one, and that this otherwise plain lettersheet was a secondary printing of the engraving – with a possible issue date of up to two or three years later than March 1857.
A third usage of the engraving, with the imprint of P. Brown, publisher, 120 Elizabeth Street, Melbourne (printed by Walker, May & Co.) is held in the National Library of Australia (Rex Nan Kivell Collection, NK9844/18.). This appears to be a separately issued engraving (sheet size 9.7 x 14 cm) – not a lettersheet. The NLA example is illustrated in Calling the shots : Aboriginal photographies (Jane Lydon, editor. Canberra : Aboriginal Studies Press, 2014, p 110). When we consider that P. Brown’s business premises in Elizabeth Street were located directly opposite Haselden’s photographic studio in 1857-58 (see below), it seems reasonable to speculate that this fact might argue the case for Brown’s imprint being even earlier than both of Slater’s.
A heavily re-worked version of the same engraving, with the generic caption ‘Natives‘, was pirated for use as one of the vignette illustrations in the chromolithographic souvenir produced in honour of the explorers Burke and Wills, The Melbourne Rose, Part II, which was printed in Hamburg by C. Adler’s Printing Establishment for the London publishers Joseph, Myers & Co., in 1862.
Jane Lydon comments on the image from the Nan Kivell Collection:
‘Like Kilburn a decade earlier, Hubert Haselden used a series of [daguerreotype] portraits of Kulin people to advertise his ‘Daguerrean & Photographic Artists’ Melbourne establishment. As is often the case where daguerreotypes have disappeared, the only surviving portrait from this series comprises an engraving, based on a drawing by Nicholas Chevalier, based on Haselden’s daguerreotype, of Wurundjeri man Simon Wonga, son of Wurundjeri ngurungaeta (leader) Billibellary and his wife Maria.
In 1862 the Illustrated Melbourne Post explained that Wonga had “considerable claims on our notice”, being “the son of of Jagga Jagga, the celebrated Port Phillip chief, and friend of Batman. The interesting couple will be readily recognised, not only by Melbournites, but by many through the surrounding districts, where Simon and his lubra pay their periodical visits.”
The Indigenous subjects were considered local celebrities, well known to the residents of the settlement and beyond. Wonga, in particular, played a key role in the fortunes of his people during these decades and was of considerable interest to European viewers. There is evidence that Wonga was equally interested in the results of photography: in 1857 he exchanged the nest and egg of a superb lyrebird, known by the Wurundjeri as the Bullan-Bullan, for two photographs – possibly even Haselden’s daguerreotypes….’ (ibid., pp 110-111).
In their essay A Letter Home to Scotland from Warrenheip in April 1857: Insights into Life in a Railway Survey Camp (Victorian Historical Journal, Volume 86, Number 2, December 2015, pp 363-380), Ian Clark and Beth Kicinski provide a discussion of a letter written on an issue of the News Letter of Australasia, number IX, March 1857, which was “discovered” in Scotland in 2012 and is now in Clark’s private collection:
‘On the front page of Issue 9, March 1857, was an illustration of two “Aborigines of Victoria”, with the following text: Our illustration this month consists of portraits of two well known Aborigines who have frequently visited Melbourne. The gradual declension of these people must give a singular interest to every faithful record of them. The present engraving was drawn by M. [sic] Chevalier, from daguerreotypes by H. Haselden. This should be N Chevalier [note: the authors are incorrect in their interpretation here, as the M. actually stands for Monsieur!], a reference to Nicholas Chevalier (1828-1902), a Russian-born artist son of Swiss-born Louis Chevalier and his Russian wife, who joined his father and brother Louis in Victoria in early 1855. His artistic talents were used by newly established Melbourne newspapers, such as the Melbourne Punch and the News Letter of Australasia, so he decided to stay in Victoria. Hubert Haselden operated in Melbourne from 1857 to 1858 at the following locations: 107 Elizabeth Street (1857–58); 57 Collins Street East (1857); 234 Bourke Street North (1858). Prussian-born Frederick Grosse engraved illustrations for the newspaper from August 1855. The wood engraving by Grosse is entitled ‘Portraits of an Aboriginal woman, an average type of the native woman of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip chief and friend of Batman’. Jagga Jagga is a reference to Billibellary, the eminent Wurundjeri-willam ngurungaeta (clan head) (c.1799–1846), one of the signatories [to] John Batman’s 1835 ‘treaty’ with the Melbourne Aborigines. Simon Wonga (b. c.1824) was his eldest son and rightful heir and was recognised as ngurungaeta until his death in 1874; he married a Wathawurrung woman. Presumably the woman pictured beside Simon Wonga in this portrait is his wife, Maria.’ (Maria was photographed at Coranderrk by Charles Walter in 1866).
Full transcription of James Dewar’s letter to his wife:
‘Bendigo, 15 April 1860.
My Dear Wife,
I am Writing John by this Post & enclose you these few lines – I was surprised at not hearing from your self as I wanted much to hear about the children – and wether you were inclined to come out here as I had made arrangements as far as I could do to receive you all – Let them all know now that I am to leave this [country] if spared about a year hence for home & will be glad to hear from you & the children in the meantime. I do think still it would have been far better had you & the children come out as their Prospects would have been better here – however I can say I have done all I could for your sakes & theirs but be assured there are difficulties to be met with here as well as at home – and that all [who] come here do not make fortunes. Now my dear as I am looking ancious forward to meeting you & the children let nothing like [shyness?] be between us but write to me immediately on receipt of this. You can form no idea of the feelings one experience[s] on receiving a letter from home especially from a Wife so far distant – My Dear do make the children add a few lines as I should be so pleased of it. I must bid you adew at Present. I remain your ever affectionate Husband, James F. Dewar.
Publishing details: Melbourne : Geo. Slater, publisher, [between 1857 and 1860]. Lettersheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman.

×

Slater George publisher

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022:
Lettersheet with an engraving of Simon Wonga and Maria by Grosse, from a drawing by Nicholas Chevalier after a daguerreotype by Hubert Haselden. Sent from Bendigo, April, 1860.
sheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman. From Photographs by Haselden’; the imprint of the Melbourne publisher, George Slater, appears at the foot of the caption; the remainder of the first page and the two inner two pages are occupied by a manuscript letter, dated at Bendigo, 15 April 1860, from James F. Dewar to his wife (presumably in England or Scotland, as the letter’s content suggests); the last page is blank; the lettersheet – as explained by Dewar in his message – was enclosed inside another letter sent to his brother, and so lacks an address; original folds, complete and in fine condition.
The engraving on this rare lettersheet was published (but without the caption) by George Slater as the cover illustration for The Newsletter of Australasia, number IX, March 1857; however, the present version is on a separately issued lettersheet – also published by Slater – of which we have not been able to trace another example. As the present example has a handwritten communication dated 15 April 1860, we tentatively suggest that The Newsletter of Australasia printing was the primary one, and that this otherwise plain lettersheet was a secondary printing of the engraving – with a possible issue date of up to two or three years later than March 1857.
A third usage of the engraving, with the imprint of P. Brown, publisher, 120 Elizabeth Street, Melbourne (printed by Walker, May & Co.) is held in the National Library of Australia (Rex Nan Kivell Collection, NK9844/18.). This appears to be a separately issued engraving (sheet size 9.7 x 14 cm) – not a lettersheet. The NLA example is illustrated in Calling the shots : Aboriginal photographies (Jane Lydon, editor. Canberra : Aboriginal Studies Press, 2014, p 110). When we consider that P. Brown’s business premises in Elizabeth Street were located directly opposite Haselden’s photographic studio in 1857-58 (see below), it seems reasonable to speculate that this fact might argue the case for Brown’s imprint being even earlier than both of Slater’s.
A heavily re-worked version of the same engraving, with the generic caption ‘Natives‘, was pirated for use as one of the vignette illustrations in the chromolithographic souvenir produced in honour of the explorers Burke and Wills, The Melbourne Rose, Part II, which was printed in Hamburg by C. Adler’s Printing Establishment for the London publishers Joseph, Myers & Co., in 1862.
Jane Lydon comments on the image from the Nan Kivell Collection:
‘Like Kilburn a decade earlier, Hubert Haselden used a series of [daguerreotype] portraits of Kulin people to advertise his ‘Daguerrean & Photographic Artists’ Melbourne establishment. As is often the case where daguerreotypes have disappeared, the only surviving portrait from this series comprises an engraving, based on a drawing by Nicholas Chevalier, based on Haselden’s daguerreotype, of Wurundjeri man Simon Wonga, son of Wurundjeri ngurungaeta (leader) Billibellary and his wife Maria.
In 1862 the Illustrated Melbourne Post explained that Wonga had “considerable claims on our notice”, being “the son of of Jagga Jagga, the celebrated Port Phillip chief, and friend of Batman. The interesting couple will be readily recognised, not only by Melbournites, but by many through the surrounding districts, where Simon and his lubra pay their periodical visits.”
The Indigenous subjects were considered local celebrities, well known to the residents of the settlement and beyond. Wonga, in particular, played a key role in the fortunes of his people during these decades and was of considerable interest to European viewers. There is evidence that Wonga was equally interested in the results of photography: in 1857 he exchanged the nest and egg of a superb lyrebird, known by the Wurundjeri as the Bullan-Bullan, for two photographs – possibly even Haselden’s daguerreotypes….’ (ibid., pp 110-111).
In their essay A Letter Home to Scotland from Warrenheip in April 1857: Insights into Life in a Railway Survey Camp (Victorian Historical Journal, Volume 86, Number 2, December 2015, pp 363-380), Ian Clark and Beth Kicinski provide a discussion of a letter written on an issue of the News Letter of Australasia, number IX, March 1857, which was “discovered” in Scotland in 2012 and is now in Clark’s private collection:
‘On the front page of Issue 9, March 1857, was an illustration of two “Aborigines of Victoria”, with the following text: Our illustration this month consists of portraits of two well known Aborigines who have frequently visited Melbourne. The gradual declension of these people must give a singular interest to every faithful record of them. The present engraving was drawn by M. [sic] Chevalier, from daguerreotypes by H. Haselden. This should be N Chevalier [note: the authors are incorrect in their interpretation here, as the M. actually stands for Monsieur!], a reference to Nicholas Chevalier (1828-1902), a Russian-born artist son of Swiss-born Louis Chevalier and his Russian wife, who joined his father and brother Louis in Victoria in early 1855. His artistic talents were used by newly established Melbourne newspapers, such as the Melbourne Punch and the News Letter of Australasia, so he decided to stay in Victoria. Hubert Haselden operated in Melbourne from 1857 to 1858 at the following locations: 107 Elizabeth Street (1857–58); 57 Collins Street East (1857); 234 Bourke Street North (1858). Prussian-born Frederick Grosse engraved illustrations for the newspaper from August 1855. The wood engraving by Grosse is entitled ‘Portraits of an Aboriginal woman, an average type of the native woman of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip chief and friend of Batman’. Jagga Jagga is a reference to Billibellary, the eminent Wurundjeri-willam ngurungaeta (clan head) (c.1799–1846), one of the signatories [to] John Batman’s 1835 ‘treaty’ with the Melbourne Aborigines. Simon Wonga (b. c.1824) was his eldest son and rightful heir and was recognised as ngurungaeta until his death in 1874; he married a Wathawurrung woman. Presumably the woman pictured beside Simon Wonga in this portrait is his wife, Maria.’ (Maria was photographed at Coranderrk by Charles Walter in 1866).
Full transcription of James Dewar’s letter to his wife:
‘Bendigo, 15 April 1860.
My Dear Wife,
I am Writing John by this Post & enclose you these few lines – I was surprised at not hearing from your self as I wanted much to hear about the children – and wether you were inclined to come out here as I had made arrangements as far as I could do to receive you all – Let them all know now that I am to leave this [country] if spared about a year hence for home & will be glad to hear from you & the children in the meantime. I do think still it would have been far better had you & the children come out as their Prospects would have been better here – however I can say I have done all I could for your sakes & theirs but be assured there are difficulties to be met with here as well as at home – and that all [who] come here do not make fortunes. Now my dear as I am looking ancious forward to meeting you & the children let nothing like [shyness?] be between us but write to me immediately on receipt of this. You can form no idea of the feelings one experience[s] on receiving a letter from home especially from a Wife so far distant – My Dear do make the children add a few lines as I should be so pleased of it. I must bid you adew at Present. I remain your ever affectionate Husband, James F. Dewar.

Publishing details: Melbourne : Geo. Slater, publisher, [between 1857 and 1860]. Lettersheet (268 x 212 mm), [4] pp bifolium, thin paper; wood-engraved illustration at the head of the first page (image size approximately 95 x 150 mm) with the monogram of the artist Nicholas Chevalier in the image bottom left, and the name of the engraver F. Grosse at bottom right; a printed caption beneath the image reads: ‘Portraits of an Aboriginal Woman, an average type of the native women of Victoria, and Simon, the son of Jagga Jagga, the celebrated Port Phillip Chief and friend of Batman.

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Kerry Charles (1857-1928)view full entry

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022: An exceptional group of views of the Snowy Mountains taken between 1891 and 1900 by renowned Sydney photographer Charles Kerry, who is sometimes referred to as the “father of Australian skiing” because of his own enthusiasm for and promotion of this form of winter recreation in the late nineteenth century. The photographs include not only some of the most spectacular landscapes of the region but also scenes of skiing, mountain climbing and alluvial gold mining, the establishment of the meteorological observatory on Mount Kosciuszko (December, 1897), and the delivery of the Kiandra mail by a postman on skis and buildings in Kiandra half-buried under snow (August, 1900). The earliest image is probably the last in the album, a view of Yarrangobilly Caves, which Kerry was commissioned to photograph in 1891.
The album was originally owned by Rosalie Harnett, a member of a prominent pioneer grazier family in the Monaro district; indeed, one of the photographs in this album is a view of Harnett’s Lake. (Rosalie herself has a permanent memorial in Cooma: the stained glass east window of St. Paul’s, its subject “The Easter Tomb”, was given to the church by her “for mercies received”). It is not known, of course, whether Rosalie purchased the photographs directly from Kerry’s studio in George Street or from a local agent – perhaps a Cooma merchant, who is likely to have found selling Kerry prints to tourists as souvenirs a lucrative business. Rosalie cherished these views as an impressive visual record of the rugged mountain country of her beloved Monaro, and had them bound in handsome black morocco.
Original prints of Kerry’s Snowy Mountains images are highly sought after and scarce, even as individual examples; but to come across an entire album containing such a substantial group of them – and with a significant local association! – is a rare occurrence.
The caption titles of the photographs in the album are as follows (Kerry’s serial numbers, where legible, have been included):
2515. Snow Bridge, Main Dividing Range; 2518. A Steep Climb, Kosciuszko; 2488. Drifts, Snowy Mountains; 2517. Cootapatamba Lake, Summer; 2493. A Summer Drift, Snowy Mountains; 2473. Cavern in a Snow Drift; [Kerry’s party on horseback]; 2138. Lake, Kosciuszko; 2049. Harnett’s Lake, Snowy Mountains; 2503. The Blue Lake; 2496. Rising Mists, Snowy Mountains; 2510. Establishing the Observatory, Kosciuszko; 2490. Morning Fog, Thredbo Gorge; 2499. Sunset on Kosciuszko; 2359. Her Majesty’s Mail arriving at Kiandra; 2378. The Hotel Kiandra; 2155. A House, Kiandra, August 1900; 2356. View in Kiandra; 2389. Sluicing with the Giant Nozzle, New Chum Mine, Kiandra; 2363. A Wholesale Spill; [Three men on a sled]; 2382. Come to Grief, on Steep Incline; 2387. Icicles 15 ft. long on New Chum Tail Race; 2394. The End, New Chum Tail Race; 2362. Ice, Pheasant Creek, Snowy Mountains; 2375. Icicles in a Snow Cave; 2353. Icicles, Boogong Ranges, Snowy Mountains; 2372. Ti Tree Bushes, Frozen; 2367. Ti Tree Bushes, Frozen; 2391. Frost on an Ice Pool, 2 1/2 Inches High, Temperature 14° below zero; 903. The Rocks, Soda Water Springs, Cooma; 970. Snowy River at Jimenbenan Falls; 928. Fern Gully, Brown Mountain; Snowy River; 914. The Snowy Range from Paurong; [????] Yarrangobilly Cave.

Publishing details: Oblong quarto album (250 x 300 mm), original gilt-ruled black crushed morocco over boards (expertly rebacked to style), all edges gilt; pastedowns and endpapers replaced, with the ownership inscription of the album’s first owner, Rosalie G. Harnett, dated 1908, preserved on a section of the original front endpaper which has been mounted on the new rear pastedown; containing [36] albumen print photographs in uniform format 150 x 205 mm, mounted recto and verso of [18] leaves of thick card, all except two with handwritten caption, serial number and imprint of ‘Kerry Photo. Sydney’ in the negative;

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Kerry Charles (1857-1928)

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022: An exceptional group of views of the Snowy Mountains taken between 1891 and 1900 by renowned Sydney photographer Charles Kerry, who is sometimes referred to as the “father of Australian skiing” because of his own enthusiasm for and promotion of this form of winter recreation in the late nineteenth century. The photographs include not only some of the most spectacular landscapes of the region but also scenes of skiing, mountain climbing and alluvial gold mining, the establishment of the meteorological observatory on Mount Kosciuszko (December, 1897), and the delivery of the Kiandra mail by a postman on skis and buildings in Kiandra half-buried under snow (August, 1900). The earliest image is probably the last in the album, a view of Yarrangobilly Caves, which Kerry was commissioned to photograph in 1891.
The album was originally owned by Rosalie Harnett, a member of a prominent pioneer grazier family in the Monaro district; indeed, one of the photographs in this album is a view of Harnett’s Lake. (Rosalie herself has a permanent memorial in Cooma: the stained glass east window of St. Paul’s, its subject “The Easter Tomb”, was given to the church by her “for mercies received”). It is not known, of course, whether Rosalie purchased the photographs directly from Kerry’s studio in George Street or from a local agent – perhaps a Cooma merchant, who is likely to have found selling Kerry prints to tourists as souvenirs a lucrative business. Rosalie cherished these views as an impressive visual record of the rugged mountain country of her beloved Monaro, and had them bound in handsome black morocco.
Original prints of Kerry’s Snowy Mountains images are highly sought after and scarce, even as individual examples; but to come across an entire album containing such a substantial group of them – and with a significant local association! – is a rare occurrence.
The caption titles of the photographs in the album are as follows (Kerry’s serial numbers, where legible, have been included):
2515. Snow Bridge, Main Dividing Range; 2518. A Steep Climb, Kosciuszko; 2488. Drifts, Snowy Mountains; 2517. Cootapatamba Lake, Summer; 2493. A Summer Drift, Snowy Mountains; 2473. Cavern in a Snow Drift; [Kerry’s party on horseback]; 2138. Lake, Kosciuszko; 2049. Harnett’s Lake, Snowy Mountains; 2503. The Blue Lake; 2496. Rising Mists, Snowy Mountains; 2510. Establishing the Observatory, Kosciuszko; 2490. Morning Fog, Thredbo Gorge; 2499. Sunset on Kosciuszko; 2359. Her Majesty’s Mail arriving at Kiandra; 2378. The Hotel Kiandra; 2155. A House, Kiandra, August 1900; 2356. View in Kiandra; 2389. Sluicing with the Giant Nozzle, New Chum Mine, Kiandra; 2363. A Wholesale Spill; [Three men on a sled]; 2382. Come to Grief, on Steep Incline; 2387. Icicles 15 ft. long on New Chum Tail Race; 2394. The End, New Chum Tail Race; 2362. Ice, Pheasant Creek, Snowy Mountains; 2375. Icicles in a Snow Cave; 2353. Icicles, Boogong Ranges, Snowy Mountains; 2372. Ti Tree Bushes, Frozen; 2367. Ti Tree Bushes, Frozen; 2391. Frost on an Ice Pool, 2 1/2 Inches High, Temperature 14° below zero; 903. The Rocks, Soda Water Springs, Cooma; 970. Snowy River at Jimenbenan Falls; 928. Fern Gully, Brown Mountain; Snowy River; 914. The Snowy Range from Paurong; [????] Yarrangobilly Cave.

Publishing details: Oblong quarto album (250 x 300 mm), original gilt-ruled black crushed morocco over boards (expertly rebacked to style), all edges gilt; pastedowns and endpapers replaced, with the ownership inscription of the album’s first owner, Rosalie G. Harnett, dated 1908, preserved on a section of the original front endpaper which has been mounted on the new rear pastedown; containing [36] albumen print photographs in uniform format 150 x 205 mm, mounted recto and verso of [18] leaves of thick card, all except two with handwritten caption, serial number and imprint of ‘Kerry Photo. Sydney’ in the negative;

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Reilly Virgil Gavan (1892 - 1975)view full entry

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022: Lady Backer (at coursing). Pen and ink on card, 360 x 260 mm (image), captioned lower centre ‘Lady Backer (at coursing) – “If you please I would like to have a shilling on the tin hare’, signed lower left. Framed.
A fine pen and ink by the talented Virgil Reilly, almost certainly drawn for publication in the Sydney magazine Smith’s Weekly where he was employed as staff artist from 1920 – 1950. Virgil’s drawings often featured attractive young women navigating their way through the underworld of Sydney, many of which were compiled in the standalone publication Darlinghurst Nights in 1932.
The sport of coursing in Australia involved greyhounds racing each other with a live rabbit as their prey, the conclusion of the race involving the unfortunate demise of the bunny. In 1927 the ‘tin hare’ mechanism was introduced from the United States, which allowed the hounds to compete without the loss of life. This innovation popularised the sport, resulting on a backlash from conservatives who railed against the proliferation of gambling in working-class Depression-era communities. In Virgil’s wry illustration, the young woman is on to a winner with her wager, as reflected in the expression of the bookmakers – the tin hare always survives to race another day.
Provenance:
Theodore Bruce Auctions, The Etchings of John B Godson & Other Multiples, Sydney, 25/10/2021, Lot No. 6831
Lawsons, Australian and European Paintings, Sydney, 27/07/1999, Lot No. 396

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Reilly Virgil Gavan (1892 - 1975)

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022: Lady Backer (at coursing). Pen and ink on card, 360 x 260 mm (image), captioned lower centre ‘Lady Backer (at coursing) – “If you please I would like to have a shilling on the tin hare’, signed lower left. Framed.
A fine pen and ink by the talented Virgil Reilly, almost certainly drawn for publication in the Sydney magazine Smith’s Weekly where he was employed as staff artist from 1920 – 1950. Virgil’s drawings often featured attractive young women navigating their way through the underworld of Sydney, many of which were compiled in the standalone publication Darlinghurst Nights in 1932.
The sport of coursing in Australia involved greyhounds racing each other with a live rabbit as their prey, the conclusion of the race involving the unfortunate demise of the bunny. In 1927 the ‘tin hare’ mechanism was introduced from the United States, which allowed the hounds to compete without the loss of life. This innovation popularised the sport, resulting on a backlash from conservatives who railed against the proliferation of gambling in working-class Depression-era communities. In Virgil’s wry illustration, the young woman is on to a winner with her wager, as reflected in the expression of the bookmakers – the tin hare always survives to race another day.
Provenance:
Theodore Bruce Auctions, The Etchings of John B Godson & Other Multiples, Sydney, 25/10/2021, Lot No. 6831
Lawsons, Australian and European Paintings, Sydney, 27/07/1999, Lot No. 396

Publishing details:

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Mutuaga view full entry

Reference: Mutuaga : a nineteenth-century New Guinea master carver. [’An important in-depth study of Mutuaga (c. 1860-1920s), an artist of the Suau district in the Massim cultural area, Milne Bay Province, Papua New Guinea, by the legendary authority on Massim art and culture, Australian philosopher and collector Harry Beran (1935-2021).
Beran identifies Mutuaga as the author of over 80 carvings, some of which have long been regarded as masterpieces of so-called tribal art. The text covers the Massim people, Massim carving styles, problems of stylistic attribution, Mutuaga and his works and the works of his contemporaries.
A rare and highly sought-after publication.’ from Douglas Stewart Fine Books, New Acquisitions email, February, 2022.’]

Publishing details: Wollongong, NSW : University of Wollongong Press, 1996. Quarto (280 x 205 mm), pictorial stiff wrappers, pp xv, 251, with 153 b/w illustrations, map;
Ref: 1000

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Mutuaga

Reference: Mutuaga : a nineteenth-century New Guinea master carver. [’An important in-depth study of Mutuaga (c. 1860-1920s), an artist of the Suau district in the Massim cultural area, Milne Bay Province, Papua New Guinea, by the legendary authority on Massim art and culture, Australian philosopher and collector Harry Beran (1935-2021).
Beran identifies Mutuaga as the author of over 80 carvings, some of which have long been regarded as masterpieces of so-called tribal art. The text covers the Massim people, Massim carving styles, problems of stylistic attribution, Mutuaga and his works and the works of his contemporaries.
A rare and highly sought-after publication.’ from Douglas Stewart Fine Books, New Acquisitions email, February, 2022.’]

Publishing details: Wollongong, NSW : University of Wollongong Press, 1996. Quarto (280 x 205 mm), pictorial stiff wrappers, pp xv, 251, with 153 b/w illustrations, map;

Location: 1000

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Davies Wynne W illustratorview full entry

Reference: The man Hamilton, Free Supplement to the Australian Women’s Weekly. Complete book-length novel by Vance Palmer, one of the two novelists who won First Prize in the Centenary Novel Competition. cover illustration by Wynne W. Davies.
Publishing details: NSW : Sydney Newspapers Ltd., [1935]. Folio newspaper (320 x 220 mm), pp 32, text printed in three columns
Ref: 1000

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Davies Wynne W illustrator

Reference: The man Hamilton, Free Supplement to the Australian Women’s Weekly. Complete book-length novel by Vance Palmer, one of the two novelists who won First Prize in the Centenary Novel Competition. cover illustration by Wynne W. Davies.

Publishing details: NSW : Sydney Newspapers Ltd., [1935]. Folio newspaper (320 x 220 mm), pp 32, text printed in three columns

Location: 1000

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Gilfillan John Gordon (1839-1875), attributedview full entry

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022: Lamb Hill, Wanganui. From nearly north east. Wood engraving, 165 x 230 mm (image), 200 x 260 mm (sheet); titled in the image Lamb Hill Wanganui, with subtitle in contemporary manuscript From nearly north east; initialled in the image lower left J.G.G.; light edge wear, else very good condition; unmounted.
An early wood-engraved view of the first Lamb Hill homestead, Warrengate, done around 1865 by John Gordon Gilfillan (1839-1875), son of J. A. (John Alexander) Gilfillan (1793-1864), one of the most important early settlers in the Whanganui district. Lamb Hill was the property of Dr. James Allison, John Gordon Gilfillan’s brother-in-law.
John Gordon Gilfillan’s father, J. A. Gilfillan, was a talented artist who had taught painting at Glasgow’s Andersonian Institute before emigrating to New Zealand with his wife and young family. The Gilfillans arrived in Wellington on Christmas Day 1841, when John Gordon was only two years of age. By the end of the following year J. A. Gilfillan had settled with his family in Whanganui, where he had been allotted 110 acres of arable land by the New Zealand Company in the Matarawa Valley, a short distance from the Whanganui township. He had also been granted a small town section in Guyton Street, on which he built a small thatched house. This was an interim dwelling which the family used while waiting for their farming land to be developed, and it was during this period that J. A. Gilfillan painted numerous scenes in and around Whanganui, as well as several portraits of local Māori chiefs. Many of his sketches and finished paintings from the first phase of European settlement in Whanganui have survived, and provide an important visual record of this time.
Gilfillan had completed the construction of the family’s house on their rural property in the Matarawa Valley by the end of 1845, and it is around this date that he painted the watercolour portrait of his six year old son John Gordon, now held in the Fletcher Trust Collection. In April 1847 the Gilfillan homestead was attacked by a Māori raiding party seeking to avenge one of their young men who had suffered a gunshot wound at the hands of a settler. The homestead was burnt to the ground. J. A. Gilfillan survived the attack, despite being severely wounded in the neck, but his wife and three of his children were massacred. Following this tragic incident, J. A. Gilfillan took his three surviving children – including John Gordon – to Australia, where he worked as an artist in Melbourne until his death in February 1864. John Gordon then returned to New Zealand, where he still had family ties in the Whanganui district due to his older sister Georgianna’s marriage to Dr. James Allison (1817-67) of Lamb Hill (Lambhill). Allison, another important early Whanganui settler, had arrived in 1840. He had named Lamb Hill after his family’s property in Scotland. In 1844 Allison married Georgianna Gilfillan (who had just turned 15), the daughter of J. A. Gilfillan. ‘After a period spent living at Wairau, James and Georgianna moved back to Lamb Hill in 1855 where they built the first of the two Lamb Hill homesteads around 1865. This house was of kahikatea, with severe borer damage requiring its replacement in 1880. The replacement was the same in every respect, and on the same spot. The site, a hill with extensive views, was chosen for fear of Maori attack. The lookout platform on the roof was built for the same reason.’ (Whanganui Government Built Heritage Inventory)
John Gordon Gilfillan is known to have made a small suite of wood engravings of Lamb Hill, probably done in 1865 following his return to Whanganui from Australia. They show the newly built Lamb Hill homestead belonging to his brother-in-law and sister from different angles.
The present engraving is one of only two known examples of this particular view (we have previously handled five otherwise unrecorded views, which included another example of the one offered here). While not the work of a professional artist like his father, John Gordon’s engravings have a charmingly naive quality.
A copy of John Gordon Gilfillan’s journal, containing his account of a journey from Whanganui via Taupo and Tauranga to Rotorua district between February and May 1875, is held in the National Library of New Zealand (the original is held in a private collection). Gilfillan did not return to Whanganui – he drowned in Lake Rotorua in May 1875, before completing his journey. The NLNZ also holds five watercolours which it has tentatively attributed to John Gordon Gilfillan, on the basis that they are in a “more primitive” hand than that of his father (see, for example Maori camp with men cooking).
Reference: Smart, Maxwell J.G. and Bates, Arthur P., The Wanganui story. Wanganui : Wanganui Newspapers Ltd., 1972

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Gilfillan John Gordon (1839-1875), attributed

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022: Lamb Hill, Wanganui. From nearly north east. Wood engraving, 165 x 230 mm (image), 200 x 260 mm (sheet); titled in the image Lamb Hill Wanganui, with subtitle in contemporary manuscript From nearly north east; initialled in the image lower left J.G.G.; light edge wear, else very good condition; unmounted.
An early wood-engraved view of the first Lamb Hill homestead, Warrengate, done around 1865 by John Gordon Gilfillan (1839-1875), son of J. A. (John Alexander) Gilfillan (1793-1864), one of the most important early settlers in the Whanganui district. Lamb Hill was the property of Dr. James Allison, John Gordon Gilfillan’s brother-in-law.
John Gordon Gilfillan’s father, J. A. Gilfillan, was a talented artist who had taught painting at Glasgow’s Andersonian Institute before emigrating to New Zealand with his wife and young family. The Gilfillans arrived in Wellington on Christmas Day 1841, when John Gordon was only two years of age. By the end of the following year J. A. Gilfillan had settled with his family in Whanganui, where he had been allotted 110 acres of arable land by the New Zealand Company in the Matarawa Valley, a short distance from the Whanganui township. He had also been granted a small town section in Guyton Street, on which he built a small thatched house. This was an interim dwelling which the family used while waiting for their farming land to be developed, and it was during this period that J. A. Gilfillan painted numerous scenes in and around Whanganui, as well as several portraits of local Māori chiefs. Many of his sketches and finished paintings from the first phase of European settlement in Whanganui have survived, and provide an important visual record of this time.
Gilfillan had completed the construction of the family’s house on their rural property in the Matarawa Valley by the end of 1845, and it is around this date that he painted the watercolour portrait of his six year old son John Gordon, now held in the Fletcher Trust Collection. In April 1847 the Gilfillan homestead was attacked by a Māori raiding party seeking to avenge one of their young men who had suffered a gunshot wound at the hands of a settler. The homestead was burnt to the ground. J. A. Gilfillan survived the attack, despite being severely wounded in the neck, but his wife and three of his children were massacred. Following this tragic incident, J. A. Gilfillan took his three surviving children – including John Gordon – to Australia, where he worked as an artist in Melbourne until his death in February 1864. John Gordon then returned to New Zealand, where he still had family ties in the Whanganui district due to his older sister Georgianna’s marriage to Dr. James Allison (1817-67) of Lamb Hill (Lambhill). Allison, another important early Whanganui settler, had arrived in 1840. He had named Lamb Hill after his family’s property in Scotland. In 1844 Allison married Georgianna Gilfillan (who had just turned 15), the daughter of J. A. Gilfillan. ‘After a period spent living at Wairau, James and Georgianna moved back to Lamb Hill in 1855 where they built the first of the two Lamb Hill homesteads around 1865. This house was of kahikatea, with severe borer damage requiring its replacement in 1880. The replacement was the same in every respect, and on the same spot. The site, a hill with extensive views, was chosen for fear of Maori attack. The lookout platform on the roof was built for the same reason.’ (Whanganui Government Built Heritage Inventory)
John Gordon Gilfillan is known to have made a small suite of wood engravings of Lamb Hill, probably done in 1865 following his return to Whanganui from Australia. They show the newly built Lamb Hill homestead belonging to his brother-in-law and sister from different angles.
The present engraving is one of only two known examples of this particular view (we have previously handled five otherwise unrecorded views, which included another example of the one offered here). While not the work of a professional artist like his father, John Gordon’s engravings have a charmingly naive quality.
A copy of John Gordon Gilfillan’s journal, containing his account of a journey from Whanganui via Taupo and Tauranga to Rotorua district between February and May 1875, is held in the National Library of New Zealand (the original is held in a private collection). Gilfillan did not return to Whanganui – he drowned in Lake Rotorua in May 1875, before completing his journey. The NLNZ also holds five watercolours which it has tentatively attributed to John Gordon Gilfillan, on the basis that they are in a “more primitive” hand than that of his father (see, for example Maori camp with men cooking).
Reference: Smart, Maxwell J.G. and Bates, Arthur P., The Wanganui story. Wanganui : Wanganui Newspapers Ltd., 1972

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Gilfillan J Aview full entry

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022: Lamb Hill, Wanganui. From nearly north east. Wood engraving, 165 x 230 mm (image), 200 x 260 mm (sheet); titled in the image Lamb Hill Wanganui, with subtitle in contemporary manuscript From nearly north east; initialled in the image lower left J.G.G.; light edge wear, else very good condition; unmounted.
An early wood-engraved view of the first Lamb Hill homestead, Warrengate, done around 1865 by John Gordon Gilfillan (1839-1875), son of J. A. (John Alexander) Gilfillan (1793-1864), one of the most important early settlers in the Whanganui district. Lamb Hill was the property of Dr. James Allison, John Gordon Gilfillan’s brother-in-law.
John Gordon Gilfillan’s father, J. A. Gilfillan, was a talented artist who had taught painting at Glasgow’s Andersonian Institute before emigrating to New Zealand with his wife and young family. The Gilfillans arrived in Wellington on Christmas Day 1841, when John Gordon was only two years of age. By the end of the following year J. A. Gilfillan had settled with his family in Whanganui, where he had been allotted 110 acres of arable land by the New Zealand Company in the Matarawa Valley, a short distance from the Whanganui township. He had also been granted a small town section in Guyton Street, on which he built a small thatched house. This was an interim dwelling which the family used while waiting for their farming land to be developed, and it was during this period that J. A. Gilfillan painted numerous scenes in and around Whanganui, as well as several portraits of local Māori chiefs. Many of his sketches and finished paintings from the first phase of European settlement in Whanganui have survived, and provide an important visual record of this time.
Gilfillan had completed the construction of the family’s house on their rural property in the Matarawa Valley by the end of 1845, and it is around this date that he painted the watercolour portrait of his six year old son John Gordon, now held in the Fletcher Trust Collection. In April 1847 the Gilfillan homestead was attacked by a Māori raiding party seeking to avenge one of their young men who had suffered a gunshot wound at the hands of a settler. The homestead was burnt to the ground. J. A. Gilfillan survived the attack, despite being severely wounded in the neck, but his wife and three of his children were massacred. Following this tragic incident, J. A. Gilfillan took his three surviving children – including John Gordon – to Australia, where he worked as an artist in Melbourne until his death in February 1864. John Gordon then returned to New Zealand, where he still had family ties in the Whanganui district due to his older sister Georgianna’s marriage to Dr. James Allison (1817-67) of Lamb Hill (Lambhill). Allison, another important early Whanganui settler, had arrived in 1840. He had named Lamb Hill after his family’s property in Scotland. In 1844 Allison married Georgianna Gilfillan (who had just turned 15), the daughter of J. A. Gilfillan. ‘After a period spent living at Wairau, James and Georgianna moved back to Lamb Hill in 1855 where they built the first of the two Lamb Hill homesteads around 1865. This house was of kahikatea, with severe borer damage requiring its replacement in 1880. The replacement was the same in every respect, and on the same spot. The site, a hill with extensive views, was chosen for fear of Maori attack. The lookout platform on the roof was built for the same reason.’ (Whanganui Government Built Heritage Inventory)
John Gordon Gilfillan is known to have made a small suite of wood engravings of Lamb Hill, probably done in 1865 following his return to Whanganui from Australia. They show the newly built Lamb Hill homestead belonging to his brother-in-law and sister from different angles.
The present engraving is one of only two known examples of this particular view (we have previously handled five otherwise unrecorded views, which included another example of the one offered here). While not the work of a professional artist like his father, John Gordon’s engravings have a charmingly naive quality.
A copy of John Gordon Gilfillan’s journal, containing his account of a journey from Whanganui via Taupo and Tauranga to Rotorua district between February and May 1875, is held in the National Library of New Zealand (the original is held in a private collection). Gilfillan did not return to Whanganui – he drowned in Lake Rotorua in May 1875, before completing his journey. The NLNZ also holds five watercolours which it has tentatively attributed to John Gordon Gilfillan, on the basis that they are in a “more primitive” hand than that of his father (see, for example Maori camp with men cooking).
Reference: Smart, Maxwell J.G. and Bates, Arthur P., The Wanganui story. Wanganui : Wanganui Newspapers Ltd., 1972

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Gilfillan J A

Reference: see Douglas Stewart Fine Books, New Acquisitions email, February, 2022: Lamb Hill, Wanganui. From nearly north east. Wood engraving, 165 x 230 mm (image), 200 x 260 mm (sheet); titled in the image Lamb Hill Wanganui, with subtitle in contemporary manuscript From nearly north east; initialled in the image lower left J.G.G.; light edge wear, else very good condition; unmounted.
An early wood-engraved view of the first Lamb Hill homestead, Warrengate, done around 1865 by John Gordon Gilfillan (1839-1875), son of J. A. (John Alexander) Gilfillan (1793-1864), one of the most important early settlers in the Whanganui district. Lamb Hill was the property of Dr. James Allison, John Gordon Gilfillan’s brother-in-law.
John Gordon Gilfillan’s father, J. A. Gilfillan, was a talented artist who had taught painting at Glasgow’s Andersonian Institute before emigrating to New Zealand with his wife and young family. The Gilfillans arrived in Wellington on Christmas Day 1841, when John Gordon was only two years of age. By the end of the following year J. A. Gilfillan had settled with his family in Whanganui, where he had been allotted 110 acres of arable land by the New Zealand Company in the Matarawa Valley, a short distance from the Whanganui township. He had also been granted a small town section in Guyton Street, on which he built a small thatched house. This was an interim dwelling which the family used while waiting for their farming land to be developed, and it was during this period that J. A. Gilfillan painted numerous scenes in and around Whanganui, as well as several portraits of local Māori chiefs. Many of his sketches and finished paintings from the first phase of European settlement in Whanganui have survived, and provide an important visual record of this time.
Gilfillan had completed the construction of the family’s house on their rural property in the Matarawa Valley by the end of 1845, and it is around this date that he painted the watercolour portrait of his six year old son John Gordon, now held in the Fletcher Trust Collection. In April 1847 the Gilfillan homestead was attacked by a Māori raiding party seeking to avenge one of their young men who had suffered a gunshot wound at the hands of a settler. The homestead was burnt to the ground. J. A. Gilfillan survived the attack, despite being severely wounded in the neck, but his wife and three of his children were massacred. Following this tragic incident, J. A. Gilfillan took his three surviving children – including John Gordon – to Australia, where he worked as an artist in Melbourne until his death in February 1864. John Gordon then returned to New Zealand, where he still had family ties in the Whanganui district due to his older sister Georgianna’s marriage to Dr. James Allison (1817-67) of Lamb Hill (Lambhill). Allison, another important early Whanganui settler, had arrived in 1840. He had named Lamb Hill after his family’s property in Scotland. In 1844 Allison married Georgianna Gilfillan (who had just turned 15), the daughter of J. A. Gilfillan. ‘After a period spent living at Wairau, James and Georgianna moved back to Lamb Hill in 1855 where they built the first of the two Lamb Hill homesteads around 1865. This house was of kahikatea, with severe borer damage requiring its replacement in 1880. The replacement was the same in every respect, and on the same spot. The site, a hill with extensive views, was chosen for fear of Maori attack. The lookout platform on the roof was built for the same reason.’ (Whanganui Government Built Heritage Inventory)
John Gordon Gilfillan is known to have made a small suite of wood engravings of Lamb Hill, probably done in 1865 following his return to Whanganui from Australia. They show the newly built Lamb Hill homestead belonging to his brother-in-law and sister from different angles.
The present engraving is one of only two known examples of this particular view (we have previously handled five otherwise unrecorded views, which included another example of the one offered here). While not the work of a professional artist like his father, John Gordon’s engravings have a charmingly naive quality.
A copy of John Gordon Gilfillan’s journal, containing his account of a journey from Whanganui via Taupo and Tauranga to Rotorua district between February and May 1875, is held in the National Library of New Zealand (the original is held in a private collection). Gilfillan did not return to Whanganui – he drowned in Lake Rotorua in May 1875, before completing his journey. The NLNZ also holds five watercolours which it has tentatively attributed to John Gordon Gilfillan, on the basis that they are in a “more primitive” hand than that of his father (see, for example Maori camp with men cooking).
Reference: Smart, Maxwell J.G. and Bates, Arthur P., The Wanganui story. Wanganui : Wanganui Newspapers Ltd., 1972

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Kerry Charles attributedview full entry

Reference: Optical lantern readings. Sydney, New South Wales. By a Colonist.
[’A very scarce example of a booklet containing notes to aid in the presentation of a magic lantern slide lecture, or ‘optical lantern reading’.
In this case, a set of fifty glass slides with views of Sydney and environs is described in detail, the text acting as the script for a lecture which could be delivered with the aid of slide projection. The slide subjects include not only well-known Sydney landmarks such as public buildings, scenes around the Harbour, the Botanic Gardens etc., but also less common images such as Anti-Chinese Demonstration, and others from farther afield including Tweed River Warrior; Sandilands Tribe, Clarence River; A Cedar Team, Richmond River; Black, Climbing with Vine Twig; and A Morning’s Bag, River Darling.
The publication can be approximately dated because of an internal reference to the Conference on Federation held in Melbourne in early 1890. (Note that the set also includes a portrait of Sir Henry Parkes, placing “A Colonist” firmly in the pro-Federation camp).
A quick cross-check of a number of the slide titles leads us to believe that Charles Kerry (1857-1928) is likely to have been the photographer of the entire set of fifty images.
This booklet is unrecorded in Australian collections.’ from Douglas Stewart Fine Books, New Acquisitions email, February, 2022.]
Publishing details: London : Alabaster, Passmore & Sons, [probably 1890-92]. Octavo (215 x 140 mm), original printed green wrappers (detached), lower wrapper with advertisement for 200+ ‘Lantern Readings’ titles, inside front and rear wrappers with advertisements for the Orient Line’s Royal Mail Service between England and Australia and the merchant shipping company Neale & Wilkinson, 28 pp;
Ref: 1000

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Kerry Charles attributed

Reference: Optical lantern readings. Sydney, New South Wales. By a Colonist.
[’A very scarce example of a booklet containing notes to aid in the presentation of a magic lantern slide lecture, or ‘optical lantern reading’.
In this case, a set of fifty glass slides with views of Sydney and environs is described in detail, the text acting as the script for a lecture which could be delivered with the aid of slide projection. The slide subjects include not only well-known Sydney landmarks such as public buildings, scenes around the Harbour, the Botanic Gardens etc., but also less common images such as Anti-Chinese Demonstration, and others from farther afield including Tweed River Warrior; Sandilands Tribe, Clarence River; A Cedar Team, Richmond River; Black, Climbing with Vine Twig; and A Morning’s Bag, River Darling.
The publication can be approximately dated because of an internal reference to the Conference on Federation held in Melbourne in early 1890. (Note that the set also includes a portrait of Sir Henry Parkes, placing “A Colonist” firmly in the pro-Federation camp).
A quick cross-check of a number of the slide titles leads us to believe that Charles Kerry (1857-1928) is likely to have been the photographer of the entire set of fifty images.
This booklet is unrecorded in Australian collections.’ from Douglas Stewart Fine Books, New Acquisitions email, February, 2022.]

Publishing details: London : Alabaster, Passmore & Sons, [probably 1890-92]. Octavo (215 x 140 mm), original printed green wrappers (detached), lower wrapper with advertisement for 200+ ‘Lantern Readings’ titles, inside front and rear wrappers with advertisements for the Orient Line’s Royal Mail Service between England and Australia and the merchant shipping company Neale & Wilkinson, 28 pp;

Location: 1000

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Commonwealth Celebrations. Souvenir invitation cards. Victoria. May 1901.view full entry

Reference: Commonwealth Celebrations. Souvenir invitation cards. Victoria. May 1901. The invitations contained in this album (four mounted on stubs, one on board) are as follows:
[1]. Opening of the Parliament of the Commonwealth by his Royal Highness The Duke of Cornwall and York. The Government of Victoria requests the honour of the presence of [ ] at the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia. [Melbourne : s.n., 1900]. Chromolithograph printed, 290 x 360 mm. Fine. Note: This stunning invitation was a collaborative design by Norman Lindsay and John Longstaff.
[2]. Australian Commonwealth Celebrations. The Government of Victoria requests the honor of the presence of [ ] at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901, at 8 p.m. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 215 x 290 mm. Fine. This invitation was designed by G. B. H. Austin.
[3]. His Majesty’s Ministers of State for the Commonwealth of Australia request the honour of the presence of [ ] in the Exhibition Building, Melbourne, on Thursday 9th May, 1901, to witness the Opening of the Parliament of the Commonwealth. Edmund Barton, Prime Minister. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 360 mm. Fine.
[4]. In Celebration of the Opening of the Parliament of the Commonwealth of Australia to meet Their Royal Highnesses the Duke and Duchess of Cornwall & York. His Majesty’s Ministers of State for Australia have the honor to invite [ ] to an Evening Reception at the Exhibition Building, Melbourne, on the 9th May 1901, at 8 o’clock. [Melbourne : s.n., 1900]. Embossed chromolithograph, 230 x 290 mm. Fine. This invitation was designed by Julian and Howard Ashton.
[5]. Australian Commonwealth Celebrations. The Government of Victoria requests the honour of the presence of [ ] at the Royal Review at Flemington on Friday the 10th of May 1901. Melbourne : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 350 mm. Fine.
A rare album, probably prepared by the Victorian government binder, containing several of the stunningly-designed invitations for various events celebrating the opening of the first Federal parliament in Melbourne. 
The NLA notes: ‘Possibly produced on demand. The same reproductions would be available in each volume but the additional material supplied by the buyer tipped in’. From see Douglas Stewart Fine Books, New Acquisitions email, February, 2022.

Publishing details: [Melbourne : s.n., 1901]. Oblong folio (295 x 395 mm), original red pebbled cloth over boards (scattered light staining) with ornamental gilt borders, upper board lettered in gilt; original silk endpapers, first blank with a gift inscription in ink ‘To Willis from Father, as a present for his 21st Birthday. Canterbury, August 1901’; with [5] original chromolithographed invitations (all unused) bound in; the invitations are all in excellent condition with rich colour,
Ref: 1000

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Commonwealth Celebrations. Souvenir invitation cards. Victoria. May 1901.

Reference: Commonwealth Celebrations. Souvenir invitation cards. Victoria. May 1901. The invitations contained in this album (four mounted on stubs, one on board) are as follows:
[1]. Opening of the Parliament of the Commonwealth by his Royal Highness The Duke of Cornwall and York. The Government of Victoria requests the honour of the presence of [ ] at the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia. [Melbourne : s.n., 1900]. Chromolithograph printed, 290 x 360 mm. Fine. Note: This stunning invitation was a collaborative design by Norman Lindsay and John Longstaff.
[2]. Australian Commonwealth Celebrations. The Government of Victoria requests the honor of the presence of [ ] at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901, at 8 p.m. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 215 x 290 mm. Fine. This invitation was designed by G. B. H. Austin.
[3]. His Majesty’s Ministers of State for the Commonwealth of Australia request the honour of the presence of [ ] in the Exhibition Building, Melbourne, on Thursday 9th May, 1901, to witness the Opening of the Parliament of the Commonwealth. Edmund Barton, Prime Minister. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 360 mm. Fine.
[4]. In Celebration of the Opening of the Parliament of the Commonwealth of Australia to meet Their Royal Highnesses the Duke and Duchess of Cornwall & York. His Majesty’s Ministers of State for Australia have the honor to invite [ ] to an Evening Reception at the Exhibition Building, Melbourne, on the 9th May 1901, at 8 o’clock. [Melbourne : s.n., 1900]. Embossed chromolithograph, 230 x 290 mm. Fine. This invitation was designed by Julian and Howard Ashton.
[5]. Australian Commonwealth Celebrations. The Government of Victoria requests the honour of the presence of [ ] at the Royal Review at Flemington on Friday the 10th of May 1901. Melbourne : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 350 mm. Fine.
A rare album, probably prepared by the Victorian government binder, containing several of the stunningly-designed invitations for various events celebrating the opening of the first Federal parliament in Melbourne. 
The NLA notes: ‘Possibly produced on demand. The same reproductions would be available in each volume but the additional material supplied by the buyer tipped in’. From see Douglas Stewart Fine Books, New Acquisitions email, February, 2022.

Publishing details: [Melbourne : s.n., 1901]. Oblong folio (295 x 395 mm), original red pebbled cloth over boards (scattered light staining) with ornamental gilt borders, upper board lettered in gilt; original silk endpapers, first blank with a gift inscription in ink ‘To Willis from Father, as a present for his 21st Birthday. Canterbury, August 1901’; with [5] original chromolithographed invitations (all unused) bound in; the invitations are all in excellent condition with rich colour,

Location: 1000

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Lindsay Norman view full entry

Reference: see Commonwealth Celebrations. Souvenir invitation cards. Victoria. May 1901. The invitations contained in this album (four mounted on stubs, one on board) are as follows:
[1]. Opening of the Parliament of the Commonwealth by his Royal Highness The Duke of Cornwall and York. The Government of Victoria requests the honour of the presence of [ ] at the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia. [Melbourne : s.n., 1900]. Chromolithograph printed, 290 x 360 mm. Fine. Note: This stunning invitation was a collaborative design by Norman Lindsay and John Longstaff.
[2]. Australian Commonwealth Celebrations. The Government of Victoria requests the honor of the presence of [ ] at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901, at 8 p.m. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 215 x 290 mm. Fine. This invitation was designed by G. B. H. Austin.
[3]. His Majesty’s Ministers of State for the Commonwealth of Australia request the honour of the presence of [ ] in the Exhibition Building, Melbourne, on Thursday 9th May, 1901, to witness the Opening of the Parliament of the Commonwealth. Edmund Barton, Prime Minister. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 360 mm. Fine.
[4]. In Celebration of the Opening of the Parliament of the Commonwealth of Australia to meet Their Royal Highnesses the Duke and Duchess of Cornwall & York. His Majesty’s Ministers of State for Australia have the honor to invite [ ] to an Evening Reception at the Exhibition Building, Melbourne, on the 9th May 1901, at 8 o’clock. [Melbourne : s.n., 1900]. Embossed chromolithograph, 230 x 290 mm. Fine. This invitation was designed by Julian and Howard Ashton.
[5]. Australian Commonwealth Celebrations. The Government of Victoria requests the honour of the presence of [ ] at the Royal Review at Flemington on Friday the 10th of May 1901. Melbourne : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 350 mm. Fine.
A rare album, probably prepared by the Victorian government binder, containing several of the stunningly-designed invitations for various events celebrating the opening of the first Federal parliament in Melbourne. 
The NLA notes: ‘Possibly produced on demand. The same reproductions would be available in each volume but the additional material supplied by the buyer tipped in’. From see Douglas Stewart Fine Books, New Acquisitions email, February, 2022.

Publishing details: [Melbourne : s.n., 1901]. Oblong folio (295 x 395 mm), original red pebbled cloth over boards (scattered light staining) with ornamental gilt borders, upper board lettered in gilt; original silk endpapers, first blank with a gift inscription in ink ‘To Willis from Father, as a present for his 21st Birthday. Canterbury, August 1901’; with [5] original chromolithographed invitations (all unused) bound in; the invitations are all in excellent condition with rich colour,

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Lindsay Norman

Reference: see Commonwealth Celebrations. Souvenir invitation cards. Victoria. May 1901. The invitations contained in this album (four mounted on stubs, one on board) are as follows:
[1]. Opening of the Parliament of the Commonwealth by his Royal Highness The Duke of Cornwall and York. The Government of Victoria requests the honour of the presence of [ ] at the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia. [Melbourne : s.n., 1900]. Chromolithograph printed, 290 x 360 mm. Fine. Note: This stunning invitation was a collaborative design by Norman Lindsay and John Longstaff.
[2]. Australian Commonwealth Celebrations. The Government of Victoria requests the honor of the presence of [ ] at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901, at 8 p.m. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 215 x 290 mm. Fine. This invitation was designed by G. B. H. Austin.
[3]. His Majesty’s Ministers of State for the Commonwealth of Australia request the honour of the presence of [ ] in the Exhibition Building, Melbourne, on Thursday 9th May, 1901, to witness the Opening of the Parliament of the Commonwealth. Edmund Barton, Prime Minister. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 360 mm. Fine.
[4]. In Celebration of the Opening of the Parliament of the Commonwealth of Australia to meet Their Royal Highnesses the Duke and Duchess of Cornwall & York. His Majesty’s Ministers of State for Australia have the honor to invite [ ] to an Evening Reception at the Exhibition Building, Melbourne, on the 9th May 1901, at 8 o’clock. [Melbourne : s.n., 1900]. Embossed chromolithograph, 230 x 290 mm. Fine. This invitation was designed by Julian and Howard Ashton.
[5]. Australian Commonwealth Celebrations. The Government of Victoria requests the honour of the presence of [ ] at the Royal Review at Flemington on Friday the 10th of May 1901. Melbourne : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 350 mm. Fine.
A rare album, probably prepared by the Victorian government binder, containing several of the stunningly-designed invitations for various events celebrating the opening of the first Federal parliament in Melbourne. 
The NLA notes: ‘Possibly produced on demand. The same reproductions would be available in each volume but the additional material supplied by the buyer tipped in’. From see Douglas Stewart Fine Books, New Acquisitions email, February, 2022.

Publishing details: [Melbourne : s.n., 1901]. Oblong folio (295 x 395 mm), original red pebbled cloth over boards (scattered light staining) with ornamental gilt borders, upper board lettered in gilt; original silk endpapers, first blank with a gift inscription in ink ‘To Willis from Father, as a present for his 21st Birthday. Canterbury, August 1901’; with [5] original chromolithographed invitations (all unused) bound in; the invitations are all in excellent condition with rich colour,

Location:

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Longstaff John view full entry

Reference: see Commonwealth Celebrations. Souvenir invitation cards. Victoria. May 1901. The invitations contained in this album (four mounted on stubs, one on board) are as follows:
[1]. Opening of the Parliament of the Commonwealth by his Royal Highness The Duke of Cornwall and York. The Government of Victoria requests the honour of the presence of [ ] at the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia. [Melbourne : s.n., 1900]. Chromolithograph printed, 290 x 360 mm. Fine. Note: This stunning invitation was a collaborative design by Norman Lindsay and John Longstaff.
[2]. Australian Commonwealth Celebrations. The Government of Victoria requests the honor of the presence of [ ] at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901, at 8 p.m. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 215 x 290 mm. Fine. This invitation was designed by G. B. H. Austin.
[3]. His Majesty’s Ministers of State for the Commonwealth of Australia request the honour of the presence of [ ] in the Exhibition Building, Melbourne, on Thursday 9th May, 1901, to witness the Opening of the Parliament of the Commonwealth. Edmund Barton, Prime Minister. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 360 mm. Fine.
[4]. In Celebration of the Opening of the Parliament of the Commonwealth of Australia to meet Their Royal Highnesses the Duke and Duchess of Cornwall & York. His Majesty’s Ministers of State for Australia have the honor to invite [ ] to an Evening Reception at the Exhibition Building, Melbourne, on the 9th May 1901, at 8 o’clock. [Melbourne : s.n., 1900]. Embossed chromolithograph, 230 x 290 mm. Fine. This invitation was designed by Julian and Howard Ashton.
[5]. Australian Commonwealth Celebrations. The Government of Victoria requests the honour of the presence of [ ] at the Royal Review at Flemington on Friday the 10th of May 1901. Melbourne : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 350 mm. Fine.
A rare album, probably prepared by the Victorian government binder, containing several of the stunningly-designed invitations for various events celebrating the opening of the first Federal parliament in Melbourne. 
The NLA notes: ‘Possibly produced on demand. The same reproductions would be available in each volume but the additional material supplied by the buyer tipped in’. From see Douglas Stewart Fine Books, New Acquisitions email, February, 2022.

Publishing details: [Melbourne : s.n., 1901]. Oblong folio (295 x 395 mm), original red pebbled cloth over boards (scattered light staining) with ornamental gilt borders, upper board lettered in gilt; original silk endpapers, first blank with a gift inscription in ink ‘To Willis from Father, as a present for his 21st Birthday. Canterbury, August 1901’; with [5] original chromolithographed invitations (all unused) bound in; the invitations are all in excellent condition with rich colour,

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Longstaff John

Reference: see Commonwealth Celebrations. Souvenir invitation cards. Victoria. May 1901. The invitations contained in this album (four mounted on stubs, one on board) are as follows:
[1]. Opening of the Parliament of the Commonwealth by his Royal Highness The Duke of Cornwall and York. The Government of Victoria requests the honour of the presence of [ ] at the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia. [Melbourne : s.n., 1900]. Chromolithograph printed, 290 x 360 mm. Fine. Note: This stunning invitation was a collaborative design by Norman Lindsay and John Longstaff.
[2]. Australian Commonwealth Celebrations. The Government of Victoria requests the honor of the presence of [ ] at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901, at 8 p.m. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 215 x 290 mm. Fine. This invitation was designed by G. B. H. Austin.
[3]. His Majesty’s Ministers of State for the Commonwealth of Australia request the honour of the presence of [ ] in the Exhibition Building, Melbourne, on Thursday 9th May, 1901, to witness the Opening of the Parliament of the Commonwealth. Edmund Barton, Prime Minister. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 360 mm. Fine.
[4]. In Celebration of the Opening of the Parliament of the Commonwealth of Australia to meet Their Royal Highnesses the Duke and Duchess of Cornwall & York. His Majesty’s Ministers of State for Australia have the honor to invite [ ] to an Evening Reception at the Exhibition Building, Melbourne, on the 9th May 1901, at 8 o’clock. [Melbourne : s.n., 1900]. Embossed chromolithograph, 230 x 290 mm. Fine. This invitation was designed by Julian and Howard Ashton.
[5]. Australian Commonwealth Celebrations. The Government of Victoria requests the honour of the presence of [ ] at the Royal Review at Flemington on Friday the 10th of May 1901. Melbourne : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 350 mm. Fine.
A rare album, probably prepared by the Victorian government binder, containing several of the stunningly-designed invitations for various events celebrating the opening of the first Federal parliament in Melbourne. 
The NLA notes: ‘Possibly produced on demand. The same reproductions would be available in each volume but the additional material supplied by the buyer tipped in’. From see Douglas Stewart Fine Books, New Acquisitions email, February, 2022.

Publishing details: [Melbourne : s.n., 1901]. Oblong folio (295 x 395 mm), original red pebbled cloth over boards (scattered light staining) with ornamental gilt borders, upper board lettered in gilt; original silk endpapers, first blank with a gift inscription in ink ‘To Willis from Father, as a present for his 21st Birthday. Canterbury, August 1901’; with [5] original chromolithographed invitations (all unused) bound in; the invitations are all in excellent condition with rich colour,

Location:

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Austin G B H designerview full entry

Reference: see Commonwealth Celebrations. Souvenir invitation cards. Victoria. May 1901. The invitations contained in this album (four mounted on stubs, one on board) are as follows:
[1]. Opening of the Parliament of the Commonwealth by his Royal Highness The Duke of Cornwall and York. The Government of Victoria requests the honour of the presence of [ ] at the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia. [Melbourne : s.n., 1900]. Chromolithograph printed, 290 x 360 mm. Fine. Note: This stunning invitation was a collaborative design by Norman Lindsay and John Longstaff.
[2]. Australian Commonwealth Celebrations. The Government of Victoria requests the honor of the presence of [ ] at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901, at 8 p.m. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 215 x 290 mm. Fine. This invitation was designed by G. B. H. Austin.
[3]. His Majesty’s Ministers of State for the Commonwealth of Australia request the honour of the presence of [ ] in the Exhibition Building, Melbourne, on Thursday 9th May, 1901, to witness the Opening of the Parliament of the Commonwealth. Edmund Barton, Prime Minister. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 360 mm. Fine.
[4]. In Celebration of the Opening of the Parliament of the Commonwealth of Australia to meet Their Royal Highnesses the Duke and Duchess of Cornwall & York. His Majesty’s Ministers of State for Australia have the honor to invite [ ] to an Evening Reception at the Exhibition Building, Melbourne, on the 9th May 1901, at 8 o’clock. [Melbourne : s.n., 1900]. Embossed chromolithograph, 230 x 290 mm. Fine. This invitation was designed by Julian and Howard Ashton.
[5]. Australian Commonwealth Celebrations. The Government of Victoria requests the honour of the presence of [ ] at the Royal Review at Flemington on Friday the 10th of May 1901. Melbourne : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 350 mm. Fine.
A rare album, probably prepared by the Victorian government binder, containing several of the stunningly-designed invitations for various events celebrating the opening of the first Federal parliament in Melbourne. 
The NLA notes: ‘Possibly produced on demand. The same reproductions would be available in each volume but the additional material supplied by the buyer tipped in’. From see Douglas Stewart Fine Books, New Acquisitions email, February, 2022.

Publishing details: [Melbourne : s.n., 1901]. Oblong folio (295 x 395 mm), original red pebbled cloth over boards (scattered light staining) with ornamental gilt borders, upper board lettered in gilt; original silk endpapers, first blank with a gift inscription in ink ‘To Willis from Father, as a present for his 21st Birthday. Canterbury, August 1901’; with [5] original chromolithographed invitations (all unused) bound in; the invitations are all in excellent condition with rich colour,

×

Austin G B H designer

Reference: see Commonwealth Celebrations. Souvenir invitation cards. Victoria. May 1901. The invitations contained in this album (four mounted on stubs, one on board) are as follows:
[1]. Opening of the Parliament of the Commonwealth by his Royal Highness The Duke of Cornwall and York. The Government of Victoria requests the honour of the presence of [ ] at the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia. [Melbourne : s.n., 1900]. Chromolithograph printed, 290 x 360 mm. Fine. Note: This stunning invitation was a collaborative design by Norman Lindsay and John Longstaff.
[2]. Australian Commonwealth Celebrations. The Government of Victoria requests the honor of the presence of [ ] at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901, at 8 p.m. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 215 x 290 mm. Fine. This invitation was designed by G. B. H. Austin.
[3]. His Majesty’s Ministers of State for the Commonwealth of Australia request the honour of the presence of [ ] in the Exhibition Building, Melbourne, on Thursday 9th May, 1901, to witness the Opening of the Parliament of the Commonwealth. Edmund Barton, Prime Minister. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 360 mm. Fine.
[4]. In Celebration of the Opening of the Parliament of the Commonwealth of Australia to meet Their Royal Highnesses the Duke and Duchess of Cornwall & York. His Majesty’s Ministers of State for Australia have the honor to invite [ ] to an Evening Reception at the Exhibition Building, Melbourne, on the 9th May 1901, at 8 o’clock. [Melbourne : s.n., 1900]. Embossed chromolithograph, 230 x 290 mm. Fine. This invitation was designed by Julian and Howard Ashton.
[5]. Australian Commonwealth Celebrations. The Government of Victoria requests the honour of the presence of [ ] at the Royal Review at Flemington on Friday the 10th of May 1901. Melbourne : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 350 mm. Fine.
A rare album, probably prepared by the Victorian government binder, containing several of the stunningly-designed invitations for various events celebrating the opening of the first Federal parliament in Melbourne. 
The NLA notes: ‘Possibly produced on demand. The same reproductions would be available in each volume but the additional material supplied by the buyer tipped in’. From see Douglas Stewart Fine Books, New Acquisitions email, February, 2022.

Publishing details: [Melbourne : s.n., 1901]. Oblong folio (295 x 395 mm), original red pebbled cloth over boards (scattered light staining) with ornamental gilt borders, upper board lettered in gilt; original silk endpapers, first blank with a gift inscription in ink ‘To Willis from Father, as a present for his 21st Birthday. Canterbury, August 1901’; with [5] original chromolithographed invitations (all unused) bound in; the invitations are all in excellent condition with rich colour,

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Ashton Julian and Howard designersview full entry

Reference: see Commonwealth Celebrations. Souvenir invitation cards. Victoria. May 1901. The invitations contained in this album (four mounted on stubs, one on board) are as follows:
[1]. Opening of the Parliament of the Commonwealth by his Royal Highness The Duke of Cornwall and York. The Government of Victoria requests the honour of the presence of [ ] at the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia. [Melbourne : s.n., 1900]. Chromolithograph printed, 290 x 360 mm. Fine. Note: This stunning invitation was a collaborative design by Norman Lindsay and John Longstaff.
[2]. Australian Commonwealth Celebrations. The Government of Victoria requests the honor of the presence of [ ] at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901, at 8 p.m. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 215 x 290 mm. Fine. This invitation was designed by G. B. H. Austin.
[3]. His Majesty’s Ministers of State for the Commonwealth of Australia request the honour of the presence of [ ] in the Exhibition Building, Melbourne, on Thursday 9th May, 1901, to witness the Opening of the Parliament of the Commonwealth. Edmund Barton, Prime Minister. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 360 mm. Fine.
[4]. In Celebration of the Opening of the Parliament of the Commonwealth of Australia to meet Their Royal Highnesses the Duke and Duchess of Cornwall & York. His Majesty’s Ministers of State for Australia have the honor to invite [ ] to an Evening Reception at the Exhibition Building, Melbourne, on the 9th May 1901, at 8 o’clock. [Melbourne : s.n., 1900]. Embossed chromolithograph, 230 x 290 mm. Fine. This invitation was designed by Julian and Howard Ashton.
[5]. Australian Commonwealth Celebrations. The Government of Victoria requests the honour of the presence of [ ] at the Royal Review at Flemington on Friday the 10th of May 1901. Melbourne : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 350 mm. Fine.
A rare album, probably prepared by the Victorian government binder, containing several of the stunningly-designed invitations for various events celebrating the opening of the first Federal parliament in Melbourne. 
The NLA notes: ‘Possibly produced on demand. The same reproductions would be available in each volume but the additional material supplied by the buyer tipped in’. From see Douglas Stewart Fine Books, New Acquisitions email, February, 2022.

Publishing details: [Melbourne : s.n., 1901]. Oblong folio (295 x 395 mm), original red pebbled cloth over boards (scattered light staining) with ornamental gilt borders, upper board lettered in gilt; original silk endpapers, first blank with a gift inscription in ink ‘To Willis from Father, as a present for his 21st Birthday. Canterbury, August 1901’; with [5] original chromolithographed invitations (all unused) bound in; the invitations are all in excellent condition with rich colour,

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Ashton Julian and Howard designers

Reference: see Commonwealth Celebrations. Souvenir invitation cards. Victoria. May 1901. The invitations contained in this album (four mounted on stubs, one on board) are as follows:
[1]. Opening of the Parliament of the Commonwealth by his Royal Highness The Duke of Cornwall and York. The Government of Victoria requests the honour of the presence of [ ] at the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia. [Melbourne : s.n., 1900]. Chromolithograph printed, 290 x 360 mm. Fine. Note: This stunning invitation was a collaborative design by Norman Lindsay and John Longstaff.
[2]. Australian Commonwealth Celebrations. The Government of Victoria requests the honor of the presence of [ ] at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901, at 8 p.m. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 215 x 290 mm. Fine. This invitation was designed by G. B. H. Austin.
[3]. His Majesty’s Ministers of State for the Commonwealth of Australia request the honour of the presence of [ ] in the Exhibition Building, Melbourne, on Thursday 9th May, 1901, to witness the Opening of the Parliament of the Commonwealth. Edmund Barton, Prime Minister. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 360 mm. Fine.
[4]. In Celebration of the Opening of the Parliament of the Commonwealth of Australia to meet Their Royal Highnesses the Duke and Duchess of Cornwall & York. His Majesty’s Ministers of State for Australia have the honor to invite [ ] to an Evening Reception at the Exhibition Building, Melbourne, on the 9th May 1901, at 8 o’clock. [Melbourne : s.n., 1900]. Embossed chromolithograph, 230 x 290 mm. Fine. This invitation was designed by Julian and Howard Ashton.
[5]. Australian Commonwealth Celebrations. The Government of Victoria requests the honour of the presence of [ ] at the Royal Review at Flemington on Friday the 10th of May 1901. Melbourne : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 350 mm. Fine.
A rare album, probably prepared by the Victorian government binder, containing several of the stunningly-designed invitations for various events celebrating the opening of the first Federal parliament in Melbourne. 
The NLA notes: ‘Possibly produced on demand. The same reproductions would be available in each volume but the additional material supplied by the buyer tipped in’. From see Douglas Stewart Fine Books, New Acquisitions email, February, 2022.

Publishing details: [Melbourne : s.n., 1901]. Oblong folio (295 x 395 mm), original red pebbled cloth over boards (scattered light staining) with ornamental gilt borders, upper board lettered in gilt; original silk endpapers, first blank with a gift inscription in ink ‘To Willis from Father, as a present for his 21st Birthday. Canterbury, August 1901’; with [5] original chromolithographed invitations (all unused) bound in; the invitations are all in excellent condition with rich colour,

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Ashton Howard and Julian designersview full entry

Reference: see Commonwealth Celebrations. Souvenir invitation cards. Victoria. May 1901. The invitations contained in this album (four mounted on stubs, one on board) are as follows:
[1]. Opening of the Parliament of the Commonwealth by his Royal Highness The Duke of Cornwall and York. The Government of Victoria requests the honour of the presence of [ ] at the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia. [Melbourne : s.n., 1900]. Chromolithograph printed, 290 x 360 mm. Fine. Note: This stunning invitation was a collaborative design by Norman Lindsay and John Longstaff.
[2]. Australian Commonwealth Celebrations. The Government of Victoria requests the honor of the presence of [ ] at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901, at 8 p.m. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 215 x 290 mm. Fine. This invitation was designed by G. B. H. Austin.
[3]. His Majesty’s Ministers of State for the Commonwealth of Australia request the honour of the presence of [ ] in the Exhibition Building, Melbourne, on Thursday 9th May, 1901, to witness the Opening of the Parliament of the Commonwealth. Edmund Barton, Prime Minister. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 360 mm. Fine.
[4]. In Celebration of the Opening of the Parliament of the Commonwealth of Australia to meet Their Royal Highnesses the Duke and Duchess of Cornwall & York. His Majesty’s Ministers of State for Australia have the honor to invite [ ] to an Evening Reception at the Exhibition Building, Melbourne, on the 9th May 1901, at 8 o’clock. [Melbourne : s.n., 1900]. Embossed chromolithograph, 230 x 290 mm. Fine. This invitation was designed by Julian and Howard Ashton.
[5]. Australian Commonwealth Celebrations. The Government of Victoria requests the honour of the presence of [ ] at the Royal Review at Flemington on Friday the 10th of May 1901. Melbourne : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 350 mm. Fine.
A rare album, probably prepared by the Victorian government binder, containing several of the stunningly-designed invitations for various events celebrating the opening of the first Federal parliament in Melbourne. 
The NLA notes: ‘Possibly produced on demand. The same reproductions would be available in each volume but the additional material supplied by the buyer tipped in’. From see Douglas Stewart Fine Books, New Acquisitions email, February, 2022.

Publishing details: [Melbourne : s.n., 1901]. Oblong folio (295 x 395 mm), original red pebbled cloth over boards (scattered light staining) with ornamental gilt borders, upper board lettered in gilt; original silk endpapers, first blank with a gift inscription in ink ‘To Willis from Father, as a present for his 21st Birthday. Canterbury, August 1901’; with [5] original chromolithographed invitations (all unused) bound in; the invitations are all in excellent condition with rich colour,

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Ashton Howard and Julian designers

Reference: see Commonwealth Celebrations. Souvenir invitation cards. Victoria. May 1901. The invitations contained in this album (four mounted on stubs, one on board) are as follows:
[1]. Opening of the Parliament of the Commonwealth by his Royal Highness The Duke of Cornwall and York. The Government of Victoria requests the honour of the presence of [ ] at the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia. [Melbourne : s.n., 1900]. Chromolithograph printed, 290 x 360 mm. Fine. Note: This stunning invitation was a collaborative design by Norman Lindsay and John Longstaff.
[2]. Australian Commonwealth Celebrations. The Government of Victoria requests the honor of the presence of [ ] at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901, at 8 p.m. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 215 x 290 mm. Fine. This invitation was designed by G. B. H. Austin.
[3]. His Majesty’s Ministers of State for the Commonwealth of Australia request the honour of the presence of [ ] in the Exhibition Building, Melbourne, on Thursday 9th May, 1901, to witness the Opening of the Parliament of the Commonwealth. Edmund Barton, Prime Minister. [Melbourne] : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 360 mm. Fine.
[4]. In Celebration of the Opening of the Parliament of the Commonwealth of Australia to meet Their Royal Highnesses the Duke and Duchess of Cornwall & York. His Majesty’s Ministers of State for Australia have the honor to invite [ ] to an Evening Reception at the Exhibition Building, Melbourne, on the 9th May 1901, at 8 o’clock. [Melbourne : s.n., 1900]. Embossed chromolithograph, 230 x 290 mm. Fine. This invitation was designed by Julian and Howard Ashton.
[5]. Australian Commonwealth Celebrations. The Government of Victoria requests the honour of the presence of [ ] at the Royal Review at Flemington on Friday the 10th of May 1901. Melbourne : Sands & McDougall, [1900]. Chromolithograph printed, 290 x 350 mm. Fine.
A rare album, probably prepared by the Victorian government binder, containing several of the stunningly-designed invitations for various events celebrating the opening of the first Federal parliament in Melbourne. 
The NLA notes: ‘Possibly produced on demand. The same reproductions would be available in each volume but the additional material supplied by the buyer tipped in’. From see Douglas Stewart Fine Books, New Acquisitions email, February, 2022.

Publishing details: [Melbourne : s.n., 1901]. Oblong folio (295 x 395 mm), original red pebbled cloth over boards (scattered light staining) with ornamental gilt borders, upper board lettered in gilt; original silk endpapers, first blank with a gift inscription in ink ‘To Willis from Father, as a present for his 21st Birthday. Canterbury, August 1901’; with [5] original chromolithographed invitations (all unused) bound in; the invitations are all in excellent condition with rich colour,

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Massim Artview full entry

Reference: Massim Art - An exhibition of art of the Massim region of Papua New Guinea from private collections in New South Wales and Canberra, assembled, introduced and annotated, Harry Beran ; photographed, Radomir Joura, with many b/w photographic illustrations, maps, an introductory essay by Harry Beran
Publishing details: Wollongong City Gallery, 1980. Oblong quarto (210 x 295 mm), pictorial stiff wrappers, staple bound; 48 pp,
Ref: 1000

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Massim Art

Reference: Massim Art - An exhibition of art of the Massim region of Papua New Guinea from private collections in New South Wales and Canberra, assembled, introduced and annotated, Harry Beran ; photographed, Radomir Joura, with many b/w photographic illustrations, maps, an introductory essay by Harry Beran

Publishing details: Wollongong City Gallery, 1980. Oblong quarto (210 x 295 mm), pictorial stiff wrappers, staple bound; 48 pp,

Location: 1000

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New Guinea artview full entry

Reference: see Massim Art - An exhibition of art of the Massim region of Papua New Guinea from private collections in New South Wales and Canberra, assembled, introduced and annotated, Harry Beran ; photographed, Radomir Joura, with many b/w photographic illustrations, maps, an introductory essay by Harry Beran
Publishing details: Wollongong City Gallery, 1980. Oblong quarto (210 x 295 mm), pictorial stiff wrappers, staple bound; 48 pp,

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New Guinea art

Reference: see Massim Art - An exhibition of art of the Massim region of Papua New Guinea from private collections in New South Wales and Canberra, assembled, introduced and annotated, Harry Beran ; photographed, Radomir Joura, with many b/w photographic illustrations, maps, an introductory essay by Harry Beran

Publishing details: Wollongong City Gallery, 1980. Oblong quarto (210 x 295 mm), pictorial stiff wrappers, staple bound; 48 pp,

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Joura Radomir photographsview full entry

Reference: see Massim Art - An exhibition of art of the Massim region of Papua New Guinea from private collections in New South Wales and Canberra, assembled, introduced and annotated, Harry Beran ; photographed, Radomir Joura, with many b/w photographic illustrations, maps, an introductory essay by Harry Beran
Publishing details: Wollongong City Gallery, 1980. Oblong quarto (210 x 295 mm), pictorial stiff wrappers, staple bound; 48 pp,

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Joura Radomir photographs

Reference: see Massim Art - An exhibition of art of the Massim region of Papua New Guinea from private collections in New South Wales and Canberra, assembled, introduced and annotated, Harry Beran ; photographed, Radomir Joura, with many b/w photographic illustrations, maps, an introductory essay by Harry Beran

Publishing details: Wollongong City Gallery, 1980. Oblong quarto (210 x 295 mm), pictorial stiff wrappers, staple bound; 48 pp,

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Taim Bipoview full entry

Reference: Taim Bipo : the disappearing traditions and practices of Papua New Guinea as seen through the eyes of young Sogeri artists.
Publishing details: Sogeri, PNG : Sogeri National High School, 1988. Square quarto (260 x 250 mm), pictorial stiff wrappers, 182 pp, with b/w line-drawn illustrations by Sogeri child artists
Ref: 1000

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Taim Bipo

Reference: Taim Bipo : the disappearing traditions and practices of Papua New Guinea as seen through the eyes of young Sogeri artists.

Publishing details: Sogeri, PNG : Sogeri National High School, 1988. Square quarto (260 x 250 mm), pictorial stiff wrappers, 182 pp, with b/w line-drawn illustrations by Sogeri child artists

Location: 1000

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Sogeri artistsview full entry

Reference: see Taim Bipo : the disappearing traditions and practices of Papua New Guinea as seen through the eyes of young Sogeri artists.
Publishing details: Sogeri, PNG : Sogeri National High School, 1988. Square quarto (260 x 250 mm), pictorial stiff wrappers, 182 pp, with b/w line-drawn illustrations by Sogeri child artists

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Sogeri artists

Reference: see Taim Bipo : the disappearing traditions and practices of Papua New Guinea as seen through the eyes of young Sogeri artists.

Publishing details: Sogeri, PNG : Sogeri National High School, 1988. Square quarto (260 x 250 mm), pictorial stiff wrappers, 182 pp, with b/w line-drawn illustrations by Sogeri child artists

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New Guinea child artistsview full entry

Reference: see Taim Bipo : the disappearing traditions and practices of Papua New Guinea as seen through the eyes of young Sogeri artists.
Publishing details: Sogeri, PNG : Sogeri National High School, 1988. Square quarto (260 x 250 mm), pictorial stiff wrappers, 182 pp, with b/w line-drawn illustrations by Sogeri child artists

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New Guinea child artists

Reference: see Taim Bipo : the disappearing traditions and practices of Papua New Guinea as seen through the eyes of young Sogeri artists.

Publishing details: Sogeri, PNG : Sogeri National High School, 1988. Square quarto (260 x 250 mm), pictorial stiff wrappers, 182 pp, with b/w line-drawn illustrations by Sogeri child artists

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Sakema - Gogodala wood carvers

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Reference: Sakema - Gogodala wood carvers,
Publishing details: Port Moresby, PNG : National Cultural Council : Distributed by Robert Brown and Associates, 1975. Quarto (285 x 210 mm), stiff pictorial wrappers, pp [2], [36], illustrated with 71 captioned b/w photographic plates, map
Ref: 1000

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Sakema - Gogodala wood carvers

Reference: Sakema - Gogodala wood carvers,

Publishing details: Port Moresby, PNG : National Cultural Council : Distributed by Robert Brown and Associates, 1975. Quarto (285 x 210 mm), stiff pictorial wrappers, pp [2], [36], illustrated with 71 captioned b/w photographic plates, map

Location: 1000

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New Guinea artview full entry

Reference: Sakema - Gogodala wood carvers,
Publishing details: Port Moresby, PNG : National Cultural Council : Distributed by Robert Brown and Associates, 1975. Quarto (285 x 210 mm), stiff pictorial wrappers, pp [2], [36], illustrated with 71 captioned b/w photographic plates, map

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New Guinea art

Reference: Sakema - Gogodala wood carvers,

Publishing details: Port Moresby, PNG : National Cultural Council : Distributed by Robert Brown and Associates, 1975. Quarto (285 x 210 mm), stiff pictorial wrappers, pp [2], [36], illustrated with 71 captioned b/w photographic plates, map

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Gogodala wood carvers
view full entry

Reference: Sakema - Gogodala wood carvers,
Publishing details: Port Moresby, PNG : National Cultural Council : Distributed by Robert Brown and Associates, 1975. Quarto (285 x 210 mm), stiff pictorial wrappers, pp [2], [36], illustrated with 71 captioned b/w photographic plates, map

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Gogodala wood carvers

Reference: Sakema - Gogodala wood carvers,

Publishing details: Port Moresby, PNG : National Cultural Council : Distributed by Robert Brown and Associates, 1975. Quarto (285 x 210 mm), stiff pictorial wrappers, pp [2], [36], illustrated with 71 captioned b/w photographic plates, map

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Clifford Samuelview full entry

Reference: Hobart Town, the capital of Tasmania. [Title from printed caption below image]. Wood-engraved panorama, 195 x 550 mm (sheet); no engraver’s details; central vertical fold with light foxing, else very good.
This engraved view was removed (by a previous owner) from a copy of the April 4 1868 edition of the Illustrated London News, in which the panorama was one of the illustrations that accompanied a report on the Duke of Edinburgh’s Tasmanian visit. The same original double-page contained another engraving (of identical dimensions), Regatta at Hobart Town, Tasmania, in honour of the visit of H.R.H. the Duke of Edinburgh. Both prints, on the same sheet, are held in the National Library of Australia (Rex Nan Kivell Collection, NK11760/55 and NK11760/56).
Hobart Town, the capital of Tasmania appears to be after a two-part panorama of Hobart from Lime Kiln Hill taken by photographer Samuel Clifford, titled Hobart Town from the North West (National Archives, UK).
see Douglas Stewart Fine Books, New Acquisitions email, February, 2022:

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Clifford Samuel

Reference: Hobart Town, the capital of Tasmania. [Title from printed caption below image]. Wood-engraved panorama, 195 x 550 mm (sheet); no engraver’s details; central vertical fold with light foxing, else very good.
This engraved view was removed (by a previous owner) from a copy of the April 4 1868 edition of the Illustrated London News, in which the panorama was one of the illustrations that accompanied a report on the Duke of Edinburgh’s Tasmanian visit. The same original double-page contained another engraving (of identical dimensions), Regatta at Hobart Town, Tasmania, in honour of the visit of H.R.H. the Duke of Edinburgh. Both prints, on the same sheet, are held in the National Library of Australia (Rex Nan Kivell Collection, NK11760/55 and NK11760/56).
Hobart Town, the capital of Tasmania appears to be after a two-part panorama of Hobart from Lime Kiln Hill taken by photographer Samuel Clifford, titled Hobart Town from the North West (National Archives, UK).
see Douglas Stewart Fine Books, New Acquisitions email, February, 2022:

Publishing details:

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Sydney (photographs c1920)view full entry

Reference: Sydney, illustrated, with [24] leaves of sepia tone photogravure views of Sydney and the Harbour, including George Street, Pitt Street, King Street, Martin Place, Art Gallery, St. Andrew’s Cathedral, Town Hall, G.P.O., Botanical Gardens, Circular Quay, Conservatorium, Farm Cove, South Head, Neutral Bay, Mosman’s Bay, Manly Beach, Watson’s Bay, Coogee, Bondi Beach, and Sutherland National Park;
Publishing details: Sydney, NSW : Samuel Wood, [circa 1920]. Oblong octavo (125 x 200 mm), publisher’s brown card wrappers with embossed lettering to front,
Ref: 1000

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Sydney (photographs c1920)

Reference: Sydney, illustrated, with [24] leaves of sepia tone photogravure views of Sydney and the Harbour, including George Street, Pitt Street, King Street, Martin Place, Art Gallery, St. Andrew’s Cathedral, Town Hall, G.P.O., Botanical Gardens, Circular Quay, Conservatorium, Farm Cove, South Head, Neutral Bay, Mosman’s Bay, Manly Beach, Watson’s Bay, Coogee, Bondi Beach, and Sutherland National Park;

Publishing details: Sydney, NSW : Samuel Wood, [circa 1920]. Oblong octavo (125 x 200 mm), publisher’s brown card wrappers with embossed lettering to front,

Location: 1000

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Wood Samuel (publisher)view full entry

Reference: see Sydney, illustrated, with [24] leaves of sepia tone photogravure views of Sydney and the Harbour, including George Street, Pitt Street, King Street, Martin Place, Art Gallery, St. Andrew’s Cathedral, Town Hall, G.P.O., Botanical Gardens, Circular Quay, Conservatorium, Farm Cove, South Head, Neutral Bay, Mosman’s Bay, Manly Beach, Watson’s Bay, Coogee, Bondi Beach, and Sutherland National Park;
Publishing details: Sydney, NSW : Samuel Wood, [circa 1920]. Oblong octavo (125 x 200 mm), publisher’s brown card wrappers with embossed lettering to front,

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Wood Samuel (publisher)

Reference: see Sydney, illustrated, with [24] leaves of sepia tone photogravure views of Sydney and the Harbour, including George Street, Pitt Street, King Street, Martin Place, Art Gallery, St. Andrew’s Cathedral, Town Hall, G.P.O., Botanical Gardens, Circular Quay, Conservatorium, Farm Cove, South Head, Neutral Bay, Mosman’s Bay, Manly Beach, Watson’s Bay, Coogee, Bondi Beach, and Sutherland National Park;

Publishing details: Sydney, NSW : Samuel Wood, [circa 1920]. Oblong octavo (125 x 200 mm), publisher’s brown card wrappers with embossed lettering to front,

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Simbai Kua (illustrator)view full entry

Reference: Mother and son, colour illustrated throughout (including inside wrappers)

Publishing details: Western Province / Legends of Papua New Guinea Series / retold by Dianne McInnes / illustrations Kua Simbai. Cover: Long taim Bipo Stori. Coorparoo, Qld. : Robert Brown & Associates, [1995]. Octavo (210 x 145 mm), pictorial stiff wrappers, 16 pp,
Ref: 1000

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Simbai Kua (illustrator)

Reference: Mother and son, colour illustrated throughout (including inside wrappers)

Publishing details: Western Province / Legends of Papua New Guinea Series / retold by Dianne McInnes / illustrations Kua Simbai. Cover: Long taim Bipo Stori. Coorparoo, Qld. : Robert Brown & Associates, [1995]. Octavo (210 x 145 mm), pictorial stiff wrappers, 16 pp,

Location: 1000

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Bardas Sandra and David collectionview full entry

Reference: see The Coppin Grove collection of Sandra and David Bardas / David Bardas [and Jenny Zimmer ; with an introduction by Gerard Vaughn]. [’This comprehensively illustrated volume tells the story of two people - Sandra Bardas (nee Smorgon) and David Bardas - who inherited from their parents a deep appreciation of the visual arts and were convinced of the importance of having art around them in the family home. They did not set out to form a collection but now, half a century later, that is undoubtedly what it is. The artworks they bought, usually by mutual consent and with great enthusiasm, were acquired from local galleries or discovered while on business trips abroad. Today they form a fascinating assemblage featuring many important works by European modernists from the Post Impressionists to the School of Paris. Represented are artists such as Cezanne, Picasso, Braque, Signac, Derain, Bonnard, Leger and Vlaminck. Australian artists in the collection include John Brack, John Olsen, Brett Whiteley, Arthur Boyd and Sidney Nolan - and others of the next generation with whom Sandra Bardas studied at art school in the late 1950s. Somewhat unusually, the collection also reflects a strong interest in sculpture, with works by Europeans Pino Conte, Jacques Lipchitz and Auguste Rodin as well as the Australians Brett Whiteley, George Baldessin, Tony Pryor, Gus Dall'Ava and Bruce Armstrong. Apart from showcasing the collection, this book offers intriguing insights into a family's dedication to lives lived in the presence of objects evidencing human creativity and the joy they bring.’]
Publishing details: Macmillan, 2011.
176 p. : ill. (some col.), ports. ; 32 x 26 cm

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Bardas Sandra and David collection

Reference: see The Coppin Grove collection of Sandra and David Bardas / David Bardas [and Jenny Zimmer ; with an introduction by Gerard Vaughn]. [’This comprehensively illustrated volume tells the story of two people - Sandra Bardas (nee Smorgon) and David Bardas - who inherited from their parents a deep appreciation of the visual arts and were convinced of the importance of having art around them in the family home. They did not set out to form a collection but now, half a century later, that is undoubtedly what it is. The artworks they bought, usually by mutual consent and with great enthusiasm, were acquired from local galleries or discovered while on business trips abroad. Today they form a fascinating assemblage featuring many important works by European modernists from the Post Impressionists to the School of Paris. Represented are artists such as Cezanne, Picasso, Braque, Signac, Derain, Bonnard, Leger and Vlaminck. Australian artists in the collection include John Brack, John Olsen, Brett Whiteley, Arthur Boyd and Sidney Nolan - and others of the next generation with whom Sandra Bardas studied at art school in the late 1950s. Somewhat unusually, the collection also reflects a strong interest in sculpture, with works by Europeans Pino Conte, Jacques Lipchitz and Auguste Rodin as well as the Australians Brett Whiteley, George Baldessin, Tony Pryor, Gus Dall'Ava and Bruce Armstrong. Apart from showcasing the collection, this book offers intriguing insights into a family's dedication to lives lived in the presence of objects evidencing human creativity and the joy they bring.’]

Publishing details: Macmillan, 2011.
176 p. : ill. (some col.), ports. ; 32 x 26 cm

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Hurley Frank and othersview full entry

Reference: From the Australian front - schrapnel and smiles, illustrated. Photographs from the Western Front by Frank Hurley and others, including the Somme and Ypres, illustrated wrappers by Fred Leist
Publishing details: London : Cassell, 1917. Quarto, pp. 128,
Ref: 1000

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Hurley Frank and others

Reference: From the Australian front - schrapnel and smiles, illustrated. Photographs from the Western Front by Frank Hurley and others, including the Somme and Ypres, illustrated wrappers by Fred Leist

Publishing details: London : Cassell, 1917. Quarto, pp. 128,

Location: 1000

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Leist Fred cover illustrationview full entry

Reference: From the Australian front - schrapnel and smiles, illustrated. Photographs from the Western Front by Frank Hurley and others, including the Somme and Ypres, illustrated wrappers by Fred Leist
Publishing details: London : Cassell, 1917. Quarto, pp. 128,

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Leist Fred cover illustration

Reference: From the Australian front - schrapnel and smiles, illustrated. Photographs from the Western Front by Frank Hurley and others, including the Somme and Ypres, illustrated wrappers by Fred Leist

Publishing details: London : Cassell, 1917. Quarto, pp. 128,

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Halpern Stacha printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Halpern Stacha prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Dawson Janet printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Dawson Janet prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Smart Jeffrey printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Smart Jeffrey prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Hick Jacqueline printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Hick Jacqueline prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Aldor Christine printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Aldor Christine prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Bannon Charles printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Bannon Charles prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Dallwitz David printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Dallwitz David prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Seidel Brian printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Seidel Brian prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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MacFarlane Pamela printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

MacFarlane Pamela prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Schepers Karin printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Schepers Karin prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Cilento Margaret printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Cilento Margaret prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Kempf Franz printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Kempf Franz prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Olley Margaret printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Olley Margaret prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Hatch Brian printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Hatch Brian prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Rigby John printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Rigby John prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Grey-Smith Guy printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Grey-Smith Guy prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Kahan Louis printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Kahan Louis prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Moore Mary printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Moore Mary prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Stannage Miriam printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Stannage Miriam prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Gibbons Tom printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Gibbons Tom prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Grey-Smith Helen printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Grey-Smith Helen prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Wallace-Crabbe Robin printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Wallace-Crabbe Robin prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Wicks Arthur printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Wicks Arthur prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Mann Gillian printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Mann Gillian prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Herel Petr printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Herel Petr prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Schmeisser Jorg printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Schmeisser Jorg prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Hinder Frank printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Hinder Frank prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Coburn John printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Coburn John prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Rooney Elizabeth printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Rooney Elizabeth prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Allen Joyce printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Allen Joyce prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Hodgkinson Frank printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Hodgkinson Frank prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Ewins Rod printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Ewins Rod prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Barwell Geoff printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Barwell Geoff prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Rosengrave Harry printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Rosengrave Harry prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Hood Kenneth printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Hood Kenneth prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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McGilchrist Erica printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

McGilchrist Erica prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Adams Tate printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Adams Tate prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Brash Barbara printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Brash Barbara prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Whisson Ken printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Whisson Ken prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Stein Guenter printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Stein Guenter prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Bizley Roy printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Bizley Roy prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Macqueen Mary printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Macqueen Mary prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Clifton Nancy printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Clifton Nancy prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Reddington Charles printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Reddington Charles prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Thorpe Lesbia printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Thorpe Lesbia prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Counihan Noel printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Counihan Noel prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Senbergs Jan printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Senbergs Jan prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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King Grahame printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

King Grahame prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Bilu Asher printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Bilu Asher prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Brack John printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Brack John prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Crooke Ray printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Crooke Ray prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Rooney Robert printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Rooney Robert prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Baldessin George printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Baldessin George prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Cleghorn Tom printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Cleghorn Tom prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Ostoja-Kotkowski Stanislaus printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Ostoja-Kotkowski Stanislaus prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Robinson John printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Robinson John prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Stringer John printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Stringer John prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Palmer Ethleen printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Palmer Ethleen prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Ogilvie Helen printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Ogilvie Helen prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Edwards Ron printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Edwards Ron prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Blackman Charles printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Blackman Charles prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Cant James printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Cant James prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Burns Peter printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Burns Peter prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Dalgarno Roy printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Dalgarno Roy prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Burke Frances Fabrics printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Burke Frances Fabrics prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Glass Raymond printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Glass Raymond prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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David Allen printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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David Allen prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Thompson Roma printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Thompson Roma prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Williams Fred printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Williams Fred prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Neeson John P printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Neeson John P prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Dent John printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Dent John prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Clutterbuck Jock printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Clutterbuck Jock prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Moynihan Daniel printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Moynihan Daniel prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Leti Bruno printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Leti Bruno prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Wee Tak Kok printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Wee Tak Kok prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Shomaly Alberr printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Shomaly Alberr prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Hjorth Noela printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Hjorth Noela prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Mantzaris Diane printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Mantzaris Diane prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Kelly William printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Kelly William prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Gerner Philip printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Gerner Philip prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Pugh Clifton Studio printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Pugh Clifton Studio prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Tucker Albert printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Tucker Albert prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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French Leonard printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

French Leonard prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Drysdale Russell printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Drysdale Russell prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Original Graphics publisher of printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Original Graphics publisher of prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Kemp Roger printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Kemp Roger prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Looby Keith printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Looby Keith prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Rees Lloyd printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Rees Lloyd prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Genis Fred printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Genis Fred printer

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Storrier Tim printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Storrier Tim prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Port Jackson Press printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Port Jackson Press printer

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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McNeilage Ian printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

McNeilage Ian prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Graham Anne Marie printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Graham Anne Marie prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Ball Sydney printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Ball Sydney prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Worth Margaret printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Worth Margaret prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Leach-Jones Alun printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Leach-Jones Alun prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Dumbrell Lesley printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Dumbrell Lesley prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Wright Normana printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Wright Normana prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Hardy Cecil printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Hardy Cecil prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Harper Melinda printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Harper Melinda prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Leveson Sandra printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Leveson Sandra prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Rudyard Carol printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Rudyard Carol prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Riddell Alan printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Riddell Alan prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Jacks Robert printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Jacks Robert prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Johnson Tim printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Johnson Tim prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Larter Richard printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Larter Richard prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Sharp Martin printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Sharp Martin prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Shead Garry printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Shead Garry prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Latimer Bruce printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Latimer Bruce prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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McBurnie Ron printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

McBurnie Ron prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Brown Mike printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Brown Mike prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Robinson Sally printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Robinson Sally prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Powditch Peter printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Powditch Peter prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Davila Juan printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Davila Juan prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Killen Virginia printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Killen Virginia prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Orchard Ken printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Orchard Ken prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Worstead Paul printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Worstead Paul prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Murray-White Clive printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Murray-White Clive prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Phoenix Frances (Budden) printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Phoenix Frances (Budden) prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Budden Phoenix Frances printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Budden Phoenix Frances prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Burns Tim printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Burns Tim prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Kossatz Les printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Kossatz Les prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Jones-Roberts Gareth printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Jones-Roberts Gareth prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Lawton Tina printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Lawton Tina prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Lyons Trevor printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Lyons Trevor prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Coleing Tony printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Coleing Tony prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Loane John printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Loane John printer

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Victorian Print Workshop printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Victorian Print Workshop prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Amor Rick printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Amor Rick prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Sansom Gareth printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Sansom Gareth prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Gittoes George printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Gittoes George prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Wei Guan printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Wei Guan prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Genis Graphics printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Genis Graphics prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Zulumovski Vera printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Zulumovski Vera prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Nedelkopoulos Nicholas printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Nedelkopoulos Nicholas prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Young Bill printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Young Bill printer

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Zofrea Salvatore printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Zofrea Salvatore prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Faggioni Giorgio printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Faggioni Giorgio prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Groblicka Lidia printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Groblicka Lidia prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Valamanesh Hossein printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Valamanesh Hossein prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Eager Helen printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Eager Helen prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Binns Vivienne printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Binns Vivienne prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Watson Jenny printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Watson Jenny prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Ely Bonita printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Ely Bonita prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Lohse Kate printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Lohse Kate prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Klein Deborah printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Klein Deborah prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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McDiarmid David printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

McDiarmid David prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Moore Ross printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Moore Ross prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Arnold Raymond printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Arnold Raymond prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Experimental Art Foundation view full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Experimental Art Foundation

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Sutinen Asko printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Sutinen Asko prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Arbuz Mark printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Arbuz Mark prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Little Colin printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Little Colin prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Earthworks Poster Collective printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Earthworks Poster Collective prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Robertson Toni printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Robertson Toni prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Danko Aleks printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Danko Aleks prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Debenham Pam printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Debenham Pam prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Mackinolty Chips printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Mackinolty Chips prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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McMahon Marie printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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McMahon Marie prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Women’s Domestic Needlework Group printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Women’s Domestic Needlework Group prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Martin Mandy printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Martin Mandy prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Newmarch Ann printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Newmarch Ann prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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McKay Brian printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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McKay Brian prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Breen Leonard printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Breen Leonard prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Black Cat Collective printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Black Cat Collective prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Inkahoots printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Inkahoots prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Gibb Viva Jillian printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Gibb Viva Jillian prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Corporate Art Terrorists printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Corporate Art Terrorists prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Callaghan Michael printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Callaghan Michael prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Redback Graphix printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Redback Graphix prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Grace Stephen printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Grace Stephen printer

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Cullen Gregor designer and printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Cullen Gregor designer and printer

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Duardo Oscar printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Duardo Oscar printer

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Garage Graphix printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Garage Graphix printer

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Hill Andrew printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Hill Andrew prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Black Wendy printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Black Wendy printer

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Redletter Press printerview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Redletter Press printer

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Russell Colin printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Russell Colin prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Shiels Julie printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Shiels Julie prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Another Planet Posters printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Another Planet Posters prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Red Planet Posters printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Red Planet Posters prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Porter Carol printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Porter Carol prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Young Ray printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Young Ray prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Kozic Maria printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Kozic Maria prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Spraycan Insurrection Against Capitalism view full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Spraycan Insurrection Against Capitalism

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Mombassa Reg printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Mombassa Reg prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Pinchuk Stanislava (Miso) printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Pinchuk Stanislava (Miso) prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Miso - Stanislava Pinchuk printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Miso - Stanislava Pinchuk prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Tamanui Regan (HaHa) printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Tamanui Regan (HaHa) prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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HaHa - Regan Tamanui printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

HaHa - Regan Tamanui prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Tipungwuti Giovanni printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Tipungwuti Giovanni prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Gilbert Kevin printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Gilbert Kevin prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Burarrwanga Charlie Matjuwi printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Burarrwanga Charlie Matjuwi prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Waradjima Albert printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Waradjima Albert prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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Tungutalum Bede printsview full entry

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]
Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

×

Tungutalum Bede prints

Reference: see Printed images by Australian Artists 1942 — 2020. The third and final volume in curator Roger Butler’s comprehensive survey of printmaking in Australia. Includes Bibliography and Index. Includes information on artists within text.
[’Printed: Images by Australian artists 1942 — 2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period emigre artists and Australian artists returning home helped established printmaking societies, art galleries and publishers — which underpinned the growing popularity of this most democratic of art forms.
The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book’s final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity..]

Publishing details: National Gallery of Australia, 2021. Quarto, illustrated boards in dustjacket, pp. xvi; 416, extensively illustrated.

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