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Rodway Florence portrait of Stella Rodwayview full entry

Reference: see Look - AGNSW Members magazine, June - July, 2022, article by Leanne Santoro p66-7
Ref: 145

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Rodway Florence portrait of Stella Rodway

Reference: see Look - AGNSW Members magazine, June - July, 2022, article by Leanne Santoro p66-7

Publishing details:

Location: 145

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Smith Grace Cossingtonview full entry

Reference: see Look - AGNSW Members magazine, June - July, 2022, article by Anabel Dean p70-3
Publishing details: a copy inserted in Grace Cossington Smith by Bruce James

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Smith Grace Cossington

Reference: see Look - AGNSW Members magazine, June - July, 2022, article by Anabel Dean p70-3

Publishing details: a copy inserted in Grace Cossington Smith by Bruce James

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White Anthonyview full entry

Reference: see artist’s website at https://www.anthonywhite.art
BIOGRAPHY

Anthony White’s artwork has been exhibited in Australia, Europe, and Asia. He has received support through cultural agencies such as The Trust Company Australia, The National Association for the Visual Arts,(NAVA) and The Copyright Agency Limited (CAL). He has also received critical acclaim by recognition in the form of art prizes and reviews most notably The Marten Bequest Travelling Scholarship (2007) The Creative Art Fellowship at The National Library of Australia (2020) and acknowledgements in The Australia Financial Review, Art Collector Magazine Australia and also Elle Décor US edition

Anthony White’s artistic work revolves around the notion of reclaiming the act of dissent through the production of cultural objects. His research is situated at the intersection of several fields in the social space including, politics, human rights, and postcolonialism. His practice is centered around concepts of design and its history as a form of social and political expression. He works with painting, drawing, collage, and printmaking. Through this practice, he tackles relevant questions to our time, to encourage emancipation and new ways of thinking.

  In 2020 White was the recipient of The Creative Arts Fellowship at the National Library of Australia. This fellowship is to research the library’s archive material related to the Australian artist Sir Sidney Nolan (1917-1992) The research will inform a new body of work examining sovereign power, dissent, and the efficacity of civil disobedience. During his career White has been the recipient of The Marten Bequest Travelling Scholarship to the United States (2007), The Vermont Studio Centre Residency U.S.A. (2008), The National Art School Paris Studio Award at La Cite Internationale Des Arts (2009), The Leipzig International Art Programme Residency, Germany (2010) and the International Painting Symposium at The Mark Rothko Centre in Latvia during (2017) 

 The work that he has produced as a result of these residencies has led to critical recognition in Australia’s national prizes including from the Churchie Emerging Art Award (2005, 2007) and The Paddington Art Prize (2005,2016,2017), and The Glover Prize (2018) and (2021) 
White has shown throughout Europe Australia, Asia, and the UK. His work has been collected by public institutions such as The Mark Rothko Art Center in Latvia and The Tweed Heads Regional Gallery in Australia.
The artwork Flight (After Exodus) 2015 a painting informed by themes of historical and contemporary developments in migration was shortlisted in The Royal Academy’s annual Summer Exhibition during 2015

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White Anthony

Reference: see artist’s website at https://www.anthonywhite.art
BIOGRAPHY

Anthony White’s artwork has been exhibited in Australia, Europe, and Asia. He has received support through cultural agencies such as The Trust Company Australia, The National Association for the Visual Arts,(NAVA) and The Copyright Agency Limited (CAL). He has also received critical acclaim by recognition in the form of art prizes and reviews most notably The Marten Bequest Travelling Scholarship (2007) The Creative Art Fellowship at The National Library of Australia (2020) and acknowledgements in The Australia Financial Review, Art Collector Magazine Australia and also Elle Décor US edition

Anthony White’s artistic work revolves around the notion of reclaiming the act of dissent through the production of cultural objects. His research is situated at the intersection of several fields in the social space including, politics, human rights, and postcolonialism. His practice is centered around concepts of design and its history as a form of social and political expression. He works with painting, drawing, collage, and printmaking. Through this practice, he tackles relevant questions to our time, to encourage emancipation and new ways of thinking.

  In 2020 White was the recipient of The Creative Arts Fellowship at the National Library of Australia. This fellowship is to research the library’s archive material related to the Australian artist Sir Sidney Nolan (1917-1992) The research will inform a new body of work examining sovereign power, dissent, and the efficacity of civil disobedience. During his career White has been the recipient of The Marten Bequest Travelling Scholarship to the United States (2007), The Vermont Studio Centre Residency U.S.A. (2008), The National Art School Paris Studio Award at La Cite Internationale Des Arts (2009), The Leipzig International Art Programme Residency, Germany (2010) and the International Painting Symposium at The Mark Rothko Centre in Latvia during (2017) 

 The work that he has produced as a result of these residencies has led to critical recognition in Australia’s national prizes including from the Churchie Emerging Art Award (2005, 2007) and The Paddington Art Prize (2005,2016,2017), and The Glover Prize (2018) and (2021) 
White has shown throughout Europe Australia, Asia, and the UK. His work has been collected by public institutions such as The Mark Rothko Art Center in Latvia and The Tweed Heads Regional Gallery in Australia.
The artwork Flight (After Exodus) 2015 a painting informed by themes of historical and contemporary developments in migration was shortlisted in The Royal Academy’s annual Summer Exhibition during 2015

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Campbell Cressidaview full entry

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article by Elizabeth Fortescue in upcoming exhibition at NGA, p10-15
Ref: 145

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Campbell Cressida

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article by Elizabeth Fortescue in upcoming exhibition at NGA, p10-15

Publishing details:

Location: 145

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Newton Helmutview full entry

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article by Margot Riley p38-45
Ref: 145

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Newton Helmut

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article by Margot Riley p38-45

Publishing details:

Location: 145

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Smith’s Weeklyview full entry

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article ‘The life and death of Smith’s Weekly’, by Robert Phiddian. p74-7.
Ref: 145

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Smith’s Weekly

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article ‘The life and death of Smith’s Weekly’, by Robert Phiddian. p74-7.

Publishing details:

Location: 145

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Smith’s Weeklyview full entry

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article ‘The life and death of Smith’s Weekly’, by Robert Phiddian. p74-7. The cartoonist is referred to in this article.
Ref: 145

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Smith’s Weekly

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article ‘The life and death of Smith’s Weekly’, by Robert Phiddian. p74-7. The cartoonist is referred to in this article.

Publishing details:

Location: 145

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Endean Johnview full entry

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article ‘The life and death of Smith’s Weekly’, by Robert Phiddian. p74-7. The cartoonist is referred to and illustrated in this article.

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Endean John

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article ‘The life and death of Smith’s Weekly’, by Robert Phiddian. p74-7. The cartoonist is referred to and illustrated in this article.

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Begg Bruceview full entry

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article ‘The life and death of Smith’s Weekly’, by Robert Phiddian. p74-7. The cartoonist is referred to and illustrated in this article.

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Begg Bruce

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article ‘The life and death of Smith’s Weekly’, by Robert Phiddian. p74-7. The cartoonist is referred to and illustrated in this article.

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Dixon Lesview full entry

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article ‘The life and death of Smith’s Weekly’, by Robert Phiddian. p74-7. The cartoonist is referred to and illustrated in this article.

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Dixon Les

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article ‘The life and death of Smith’s Weekly’, by Robert Phiddian. p74-7. The cartoonist is referred to and illustrated in this article.

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Hallett Charlesview full entry

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article ‘The life and death of Smith’s Weekly’, by Robert Phiddian. p74-7. The cartoonist is referred to and illustrated in this article.

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Hallett Charles

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article ‘The life and death of Smith’s Weekly’, by Robert Phiddian. p74-7. The cartoonist is referred to and illustrated in this article.

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Morrison Joanview full entry

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article ‘The life and death of Smith’s Weekly’, by Robert Phiddian. p74-7. The cartoonist is referred to and illustrated in this article.

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Morrison Joan

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article ‘The life and death of Smith’s Weekly’, by Robert Phiddian. p74-7. The cartoonist is referred to and illustrated in this article.

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White Unkview full entry

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article ‘The life and death of Smith’s Weekly’, by Robert Phiddian. p74-7. The cartoonist is referred to and illustrated in this article.

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White Unk

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article ‘The life and death of Smith’s Weekly’, by Robert Phiddian. p74-7. The cartoonist is referred to and illustrated in this article.

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cartooningview full entry

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article ‘The life and death of Smith’s Weekly’, by Robert Phiddian. p74-7. The cartoonist is referred to and illustrated in this article.

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cartooning

Reference: see Open Book, magazine of the State Library of NSW, Winter 2022, article ‘The life and death of Smith’s Weekly’, by Robert Phiddian. p74-7. The cartoonist is referred to and illustrated in this article.

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Grand Vistasview full entry

Reference: Grand Vistas - panoramas from the collection, introduction by Richard Neville. Exhibition at SLNSW, (the inaugural exhibition of the State Library’s new Drawings, Watercolours and Prints Gallery. 2022)
Publishing details: SLNSW, 2022, 24pp
Ref: 1

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Grand Vistas

Reference: Grand Vistas - panoramas from the collection, introduction by Richard Neville. Exhibition at SLNSW, (the inaugural exhibition of the State Library’s new Drawings, Watercolours and Prints Gallery. 2022)

Publishing details: SLNSW, 2022, 24pp

Location: 1

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Janssen Jacobview full entry

Reference: see Grand Vistas - panoramas from the collection, introduction by Richard Neville. Exhibition at SLNSW, (the inaugural exhibition of the State Library’s new Drawings, Watercolours and Prints Gallery. 2022)
Publishing details: SLNSW, 2022, 24pp

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Janssen Jacob

Reference: see Grand Vistas - panoramas from the collection, introduction by Richard Neville. Exhibition at SLNSW, (the inaugural exhibition of the State Library’s new Drawings, Watercolours and Prints Gallery. 2022)

Publishing details: SLNSW, 2022, 24pp

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Rae Johnview full entry

Reference: see Grand Vistas - panoramas from the collection, introduction by Richard Neville. Exhibition at SLNSW, (the inaugural exhibition of the State Library’s new Drawings, Watercolours and Prints Gallery. 2022)
Publishing details: SLNSW, 2022, 24pp

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Rae John

Reference: see Grand Vistas - panoramas from the collection, introduction by Richard Neville. Exhibition at SLNSW, (the inaugural exhibition of the State Library’s new Drawings, Watercolours and Prints Gallery. 2022)

Publishing details: SLNSW, 2022, 24pp

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Close Edward Charlesview full entry

Reference: see Grand Vistas - panoramas from the collection, introduction by Richard Neville. Exhibition at SLNSW, (the inaugural exhibition of the State Library’s new Drawings, Watercolours and Prints Gallery. 2022)
Publishing details: SLNSW, 2022, 24pp

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Close Edward Charles

Reference: see Grand Vistas - panoramas from the collection, introduction by Richard Neville. Exhibition at SLNSW, (the inaugural exhibition of the State Library’s new Drawings, Watercolours and Prints Gallery. 2022)

Publishing details: SLNSW, 2022, 24pp

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Feint Adrian bookplatesview full entry

Reference: see EWBANK'S auction, 23 Jun 2022 Woking, Surrey, UK, lot 2106:
Adrian Feint (Australian 1894-1971). 3 bookplates, one for Richard Smart, depicting a sailing ship. Wood engraving, signed lower right. 8 x 7cm, one for Patrick White, classical maidens by a temple, initialled in the plate 10 x 8.5cm and another for Elizabeth Watson Diamond depicting leaves/pages falling from a tree, signed in the plate. 12 x 9.5cm. Plus one created for Elizabeth Diamond by an unknown artist (M). 8 x 7cm. (4). 
Catalogue notes; The collection of Ernest Pearce (1930-2012) a dedicated art collector and connoisseur of the bookplate.
His files of letters reveal that he was in regular correspondence with many well-known artists and fellow collectors from the 1950s onwards, sharing with them his in-depth knowledge and often exchanging rare prints and other works of art. Of particular note is his collection of works by the Romanticist artist Samuel Palmer many of which were purchased from Carlos Peacock, author of 'Samuel Palmer, The Shoreham Years' who himself acquired a number from AH Palmer, Samuel's son. Also works by well-known 20thcentury artists, some, unusually, accompanied by personal notes or cards. Finally, of course, his extensive collection of bookplates including British and Continental artists and some illustrious libraries.
Ewbank's is delighted to have this opportunity to bring Ernest Pearce's lifelong collection to the market. 
Provenance: The family of Ernest Pearce.

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Feint Adrian bookplates

Reference: see EWBANK'S auction, 23 Jun 2022 Woking, Surrey, UK, lot 2106:
Adrian Feint (Australian 1894-1971). 3 bookplates, one for Richard Smart, depicting a sailing ship. Wood engraving, signed lower right. 8 x 7cm, one for Patrick White, classical maidens by a temple, initialled in the plate 10 x 8.5cm and another for Elizabeth Watson Diamond depicting leaves/pages falling from a tree, signed in the plate. 12 x 9.5cm. Plus one created for Elizabeth Diamond by an unknown artist (M). 8 x 7cm. (4). 
Catalogue notes; The collection of Ernest Pearce (1930-2012) a dedicated art collector and connoisseur of the bookplate.
His files of letters reveal that he was in regular correspondence with many well-known artists and fellow collectors from the 1950s onwards, sharing with them his in-depth knowledge and often exchanging rare prints and other works of art. Of particular note is his collection of works by the Romanticist artist Samuel Palmer many of which were purchased from Carlos Peacock, author of 'Samuel Palmer, The Shoreham Years' who himself acquired a number from AH Palmer, Samuel's son. Also works by well-known 20thcentury artists, some, unusually, accompanied by personal notes or cards. Finally, of course, his extensive collection of bookplates including British and Continental artists and some illustrious libraries.
Ewbank's is delighted to have this opportunity to bring Ernest Pearce's lifelong collection to the market. 
Provenance: The family of Ernest Pearce.

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Hansen Peter decoratorview full entry

Reference: see VICKI SHUTTLEWORTH
In search of ‘Hansen, decorator’: finding Peter Hansen.
Publishing details: The La Trobe Journal No 102 September 2018

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Hansen Peter decorator

Reference: see VICKI SHUTTLEWORTH
In search of ‘Hansen, decorator’: finding Peter Hansen.

Publishing details: The La Trobe Journal No 102 September 2018

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Potage Michaelview full entry

Reference: FauveParis auction, Paris, France,2.7.22, lot 141: Michel Potage (1949-2020)
Laughter in the desert - Aborigines series 1982 Acrylic and mixed media on cardboard panel signed, titled and dated on the back 15,5 x 22,5 cm "To paint is to face the impossible." Michel Potage went to Australia in 1978, and his ambition was to represent "the aboriginal dream".
Condition report : Framed (frame 31,5 x 39 cm)

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Potage Michael

Reference: FauveParis auction, Paris, France,2.7.22, lot 141: Michel Potage (1949-2020)
Laughter in the desert - Aborigines series 1982 Acrylic and mixed media on cardboard panel signed, titled and dated on the back 15,5 x 22,5 cm "To paint is to face the impossible." Michel Potage went to Australia in 1978, and his ambition was to represent "the aboriginal dream".
Condition report : Framed (frame 31,5 x 39 cm)

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Wetzel Fview full entry

Reference: see Leski Auction, 26 June, 2022, lot 1263: F. WETZEL, (Australia, 19th Century),
Western Port Bay, 1892,
oil on board,
signed lower left, titled at lower centre,
46 x 86cm, framed 84 x 104cm overall.

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Wetzel F

Reference: see Leski Auction, 26 June, 2022, lot 1263: F. WETZEL, (Australia, 19th Century),
Western Port Bay, 1892,
oil on board,
signed lower left, titled at lower centre,
46 x 86cm, framed 84 x 104cm overall.

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Anderson Theoview full entry

Reference: see see Leski Auction, 26 June, 2022, lot 1266:
THEO ANDERSON (working in Australia 1900-1915),
(river scene landscape),
oil on board,
signed lower right "Theo Anderson",
Whitelaw's framing label verso,
30 x 40cm, 38 x 47cm overall

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Anderson Theo

Reference: see see Leski Auction, 26 June, 2022, lot 1266:
THEO ANDERSON (working in Australia 1900-1915),
(river scene landscape),
oil on board,
signed lower right "Theo Anderson",
Whitelaw's framing label verso,
30 x 40cm, 38 x 47cm overall

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Watkins Paulview full entry

Reference: A Portrait of the City of Blue Mountains, by Paul Watkins
Publishing details: Bathurst, N.S.W. : Robert Brown & Associates, c1988 
64 p. : chiefly ill.
Ref: 1000

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Watkins Paul

Reference: A Portrait of the City of Blue Mountains, by Paul Watkins

Publishing details: Bathurst, N.S.W. : Robert Brown & Associates, c1988 
64 p. : chiefly ill.

Location: 1000

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Schmidt Basilview full entry

Reference: see Elder Fine Art auction see Elder Fine Art auction, 10 July, 2022,
Lot 132
LIEUTENANT BASIL HENRY SCHMIDT (1909-1987)
"The 148th Australian General Transport Company AIF Dance Band 1944"
Pen and Watercolour
30.5x39cm
Signed Lower Left Dated 1944, Titled Lower Right.
=Condition: No foxing, some minor discolouration. Some tears to paper near margins in various spots, with centre crease line.
Frame Size: 43x52cm
Estimate: $2,500-3,500
Prov: Private Collection, Adelaide
Note: This ink and watercolour painting depicting the AIF 148th Australian General Transport Company Dance Band, which is signed by all the band members and dated 17/4/1944, is a wonderful historical record of some enjoyment afforded the personnel who were a vital supply link in the Oceania region during World War 2.
A photograph in the collection of the Australian War Memorial and also dated 17/4/1944 by official war photographer Gordon Herbert Short, entitled “Rest Day” shows some band members with Australian Army Medical Women’s Service Members, participating in a rehearsal or impromptu performance. Photograph and more information Verso.

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Schmidt Basil

Reference: see Elder Fine Art auction see Elder Fine Art auction, 10 July, 2022,
Lot 132
LIEUTENANT BASIL HENRY SCHMIDT (1909-1987)
"The 148th Australian General Transport Company AIF Dance Band 1944"
Pen and Watercolour
30.5x39cm
Signed Lower Left Dated 1944, Titled Lower Right.
=Condition: No foxing, some minor discolouration. Some tears to paper near margins in various spots, with centre crease line.
Frame Size: 43x52cm
Estimate: $2,500-3,500
Prov: Private Collection, Adelaide
Note: This ink and watercolour painting depicting the AIF 148th Australian General Transport Company Dance Band, which is signed by all the band members and dated 17/4/1944, is a wonderful historical record of some enjoyment afforded the personnel who were a vital supply link in the Oceania region during World War 2.
A photograph in the collection of the Australian War Memorial and also dated 17/4/1944 by official war photographer Gordon Herbert Short, entitled “Rest Day” shows some band members with Australian Army Medical Women’s Service Members, participating in a rehearsal or impromptu performance. Photograph and more information Verso.

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Gordon Herbert Shortview full entry

Reference: see Elder Fine Art auction, 10 July, 2022,
Lot 132
LIEUTENANT BASIL HENRY SCHMIDT (1909-1987)
"The 148th Australian General Transport Company AIF Dance Band 1944"
Pen and Watercolour
30.5x39cm
Signed Lower Left Dated 1944, Titled Lower Right.
=Condition: No foxing, some minor discolouration. Some tears to paper near margins in various spots, with centre crease line.
Frame Size: 43x52cm
Estimate: $2,500-3,500
Prov: Private Collection, Adelaide
Note: This ink and watercolour painting depicting the AIF 148th Australian General Transport Company Dance Band, which is signed by all the band members and dated 17/4/1944, is a wonderful historical record of some enjoyment afforded the personnel who were a vital supply link in the Oceania region during World War 2.
A photograph in the collection of the Australian War Memorial and also dated 17/4/1944 by official war photographer Gordon Herbert Short, entitled “Rest Day” shows some band members with Australian Army Medical Women’s Service Members, participating in a rehearsal or impromptu performance. Photograph and more information Verso.

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Gordon Herbert Short

Reference: see Elder Fine Art auction, 10 July, 2022,
Lot 132
LIEUTENANT BASIL HENRY SCHMIDT (1909-1987)
"The 148th Australian General Transport Company AIF Dance Band 1944"
Pen and Watercolour
30.5x39cm
Signed Lower Left Dated 1944, Titled Lower Right.
=Condition: No foxing, some minor discolouration. Some tears to paper near margins in various spots, with centre crease line.
Frame Size: 43x52cm
Estimate: $2,500-3,500
Prov: Private Collection, Adelaide
Note: This ink and watercolour painting depicting the AIF 148th Australian General Transport Company Dance Band, which is signed by all the band members and dated 17/4/1944, is a wonderful historical record of some enjoyment afforded the personnel who were a vital supply link in the Oceania region during World War 2.
A photograph in the collection of the Australian War Memorial and also dated 17/4/1944 by official war photographer Gordon Herbert Short, entitled “Rest Day” shows some band members with Australian Army Medical Women’s Service Members, participating in a rehearsal or impromptu performance. Photograph and more information Verso.

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Wilkie Leslieview full entry

Reference: see 17th Australiana Virtual Show and Tell Report MAY/JUNE 2022, on line: https://www.australiana.org.au/news
Leslie Wilkie’s artist’s palette 1908, Cedar, width 495 mm, height 330 mm.
An artist’s palette is a thin, flat board that has a hole for the thumb at one end and is used by the painter to mix colours during painting. This cedar example has the artist’s name and date 1908 incised on the reverse.
Leslie Andrew Alexander Wilkie (1878–1936) was born in Melbourne where he attended the National Gallery schools 1896–1901 followed by two years study in Britain and Europe.
On his return he worked for the Age as an art critic and later for both the Argus and the Australasian. Wilkie was described as ‘a conscientious and careful painter of portraits, he painted in the tradition of the Royal Scottish Academy’ though he also painted still life and landscapes.
The artist’s name and date 1908 are incised on the reverse when he was acting master of drawing at the NGV (1907–1908) while Frederick McCubbin was overseas.
Wilkie was also a teacher, illustrator and curator. During WWI he painted banners for the Australian Red Cross.
In 1926 he was appointed curator (and later director) of the National Art Gallery of South Australia, now the Art Gallery of South Australia. In 1934 he joined an Adelaide anthropological expedition to Central Australia and painted portraits of Aborigines near Cooper Creek which were later exhibited in AGSA.
He is represented in numerous state and regional galleries including NLA and AWM.

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Wilkie Leslie

Reference: see 17th Australiana Virtual Show and Tell Report MAY/JUNE 2022, on line: https://www.australiana.org.au/news
Leslie Wilkie’s artist’s palette 1908, Cedar, width 495 mm, height 330 mm.
An artist’s palette is a thin, flat board that has a hole for the thumb at one end and is used by the painter to mix colours during painting. This cedar example has the artist’s name and date 1908 incised on the reverse.
Leslie Andrew Alexander Wilkie (1878–1936) was born in Melbourne where he attended the National Gallery schools 1896–1901 followed by two years study in Britain and Europe.
On his return he worked for the Age as an art critic and later for both the Argus and the Australasian. Wilkie was described as ‘a conscientious and careful painter of portraits, he painted in the tradition of the Royal Scottish Academy’ though he also painted still life and landscapes.
The artist’s name and date 1908 are incised on the reverse when he was acting master of drawing at the NGV (1907–1908) while Frederick McCubbin was overseas.
Wilkie was also a teacher, illustrator and curator. During WWI he painted banners for the Australian Red Cross.
In 1926 he was appointed curator (and later director) of the National Art Gallery of South Australia, now the Art Gallery of South Australia. In 1934 he joined an Adelaide anthropological expedition to Central Australia and painted portraits of Aborigines near Cooper Creek which were later exhibited in AGSA.
He is represented in numerous state and regional galleries including NLA and AWM.

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Fischer E silversmithview full entry

Reference: see 17th Australiana Virtual Show and Tell Report MAY/JUNE 2022, on line: https://www.australiana.org.au/news
Silver Cup by E Fischer, Geelong presented by David Munro
Inscription: ‘Awarded to W.G. Williams for best model of Automatic Gate for Farm or Station purposes. The Gift of David Munro Melbourne, Member of the Council of the National Agricultural Society.’ Edward Fischer, Geelong, c 1879 Sterling silver, height 18.4 cm, diam of base 8.8 cm, diam of gilded bowl 8.5 cm, weight 221.3g.
David Munro (1844–1898), engineer, speculator, and contractor, was born in Kirkintilloch, Dunbartonshire, Scotland, son of a blacksmith. The family and some close relatives migrated to Victoria in 1854 on the Tudor.
After working for his father for some years, he started his own engineering business. His trademark was a phoenix arising from the flames and his motto Resurgum. In the construction and railway boom of the 1870s and 1880s David Munro and Co. was one of the colony’s biggest employers of labour. Two of his best works still carry traffic across the Yarra: Queen’s Bridge built on the site of the old Falls bridge for £45,000 and opened in April 1890 and the new Princes Bridge built in 1888 for £137,000.
Munro sold every type of sawmilling, threshing and mining equipment, either for cash or on his new ‘Purchasing Lease System.’
His patented or improved machines were used by selectors and included a post-boring machine, the ‘Victory Self-adjusting Windmill’ and portable engines using ‘the colonial fire-box, the steam jacketed cylinder, the variable expansion gear, the sliding crank shaft bracket, the three-way force – pumps’.
This cup was presented at the Intercolonial Juvenile Industrial Exhibition, Melbourne, 1879/1880 in the section Class 1- Machinery of every description as follows: ‘W.G. Williams, Melbourne, model of automatic gate for farm, silver medal and silver cup, value £5,5s, the gift of Mr D Munro.’
Like many capitalists Munro was harsh on his employees and in the temporary slump of 1887 cut their wages from 7s. to 6s. 6d. a day. Unmoved by protests he told the men that their union leaders were ‘vermin to be squelched’.

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Fischer E silversmith

Reference: see 17th Australiana Virtual Show and Tell Report MAY/JUNE 2022, on line: https://www.australiana.org.au/news
Silver Cup by E Fischer, Geelong presented by David Munro
Inscription: ‘Awarded to W.G. Williams for best model of Automatic Gate for Farm or Station purposes. The Gift of David Munro Melbourne, Member of the Council of the National Agricultural Society.’ Edward Fischer, Geelong, c 1879 Sterling silver, height 18.4 cm, diam of base 8.8 cm, diam of gilded bowl 8.5 cm, weight 221.3g.
David Munro (1844–1898), engineer, speculator, and contractor, was born in Kirkintilloch, Dunbartonshire, Scotland, son of a blacksmith. The family and some close relatives migrated to Victoria in 1854 on the Tudor.
After working for his father for some years, he started his own engineering business. His trademark was a phoenix arising from the flames and his motto Resurgum. In the construction and railway boom of the 1870s and 1880s David Munro and Co. was one of the colony’s biggest employers of labour. Two of his best works still carry traffic across the Yarra: Queen’s Bridge built on the site of the old Falls bridge for £45,000 and opened in April 1890 and the new Princes Bridge built in 1888 for £137,000.
Munro sold every type of sawmilling, threshing and mining equipment, either for cash or on his new ‘Purchasing Lease System.’
His patented or improved machines were used by selectors and included a post-boring machine, the ‘Victory Self-adjusting Windmill’ and portable engines using ‘the colonial fire-box, the steam jacketed cylinder, the variable expansion gear, the sliding crank shaft bracket, the three-way force – pumps’.
This cup was presented at the Intercolonial Juvenile Industrial Exhibition, Melbourne, 1879/1880 in the section Class 1- Machinery of every description as follows: ‘W.G. Williams, Melbourne, model of automatic gate for farm, silver medal and silver cup, value £5,5s, the gift of Mr D Munro.’
Like many capitalists Munro was harsh on his employees and in the temporary slump of 1887 cut their wages from 7s. to 6s. 6d. a day. Unmoved by protests he told the men that their union leaders were ‘vermin to be squelched’.

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Kangaroo Art view full entry

Reference: see 17th Australiana Virtual Show and Tell Report MAY/JUNE 2022, on line: https://www.australiana.org.au/news
BETA Airship by Kangaroo Art.
Crested china miniature BETA airship with the hand coloured 1912 Commonwealth Australian Coat of Arms, marked on base: ’Kangaroo” Art, China, Valentine & Sons Ltd, Melbourne. Length 8 cm, width 4 cm, height 6 cm.
The BETA was a pre-WWI British non-rigid airship constructed by the Army Balloon Factory in 1910 with a rubberized fabric skin and was prone to accidents. It was followed by BETA II, with a new design ‘envelope’ of goldbeaters skin (processed animal gut skin gut membrane), with four bladed propellers and took part in 1912 manoeuvres.
It was later used by the Royal Naval Air as HMA 17. With a Clerget engine and a crew of three, the airship had a maximum speed of 35 mph, could reach an altitude of 400 feet and had an endurance of five hours.
After time doing air reconnaissance over enemy
lines during WWI, she escorted ships across the English Channel and returned to Britain where she was used for preliminary training for all airship pilots. The BETA was retired in 1916.
Valentine & Sons Ltd Melbourne was originally known as a postcard company, founded in Dundee, Scotland in 1850.
It is very likely that the Melbourne company commissioned Willow Art of Longton, Staffordshire to produce these items, with hand-coloured transfer prints, to be sold under the Valentine name.

×

Kangaroo Art

Reference: see 17th Australiana Virtual Show and Tell Report MAY/JUNE 2022, on line: https://www.australiana.org.au/news
BETA Airship by Kangaroo Art.
Crested china miniature BETA airship with the hand coloured 1912 Commonwealth Australian Coat of Arms, marked on base: ’Kangaroo” Art, China, Valentine & Sons Ltd, Melbourne. Length 8 cm, width 4 cm, height 6 cm.
The BETA was a pre-WWI British non-rigid airship constructed by the Army Balloon Factory in 1910 with a rubberized fabric skin and was prone to accidents. It was followed by BETA II, with a new design ‘envelope’ of goldbeaters skin (processed animal gut skin gut membrane), with four bladed propellers and took part in 1912 manoeuvres.
It was later used by the Royal Naval Air as HMA 17. With a Clerget engine and a crew of three, the airship had a maximum speed of 35 mph, could reach an altitude of 400 feet and had an endurance of five hours.
After time doing air reconnaissance over enemy
lines during WWI, she escorted ships across the English Channel and returned to Britain where she was used for preliminary training for all airship pilots. The BETA was retired in 1916.
Valentine & Sons Ltd Melbourne was originally known as a postcard company, founded in Dundee, Scotland in 1850.
It is very likely that the Melbourne company commissioned Willow Art of Longton, Staffordshire to produce these items, with hand-coloured transfer prints, to be sold under the Valentine name.

Publishing details:

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Valentine & Sons Ltd, Melbourneview full entry

Reference: see 17th Australiana Virtual Show and Tell Report MAY/JUNE 2022, on line: https://www.australiana.org.au/news
BETA Airship by Kangaroo Art.
Crested china miniature BETA airship with the hand coloured 1912 Commonwealth Australian Coat of Arms, marked on base: ’Kangaroo” Art, China, Valentine & Sons Ltd, Melbourne. Length 8 cm, width 4 cm, height 6 cm.
The BETA was a pre-WWI British non-rigid airship constructed by the Army Balloon Factory in 1910 with a rubberized fabric skin and was prone to accidents. It was followed by BETA II, with a new design ‘envelope’ of goldbeaters skin (processed animal gut skin gut membrane), with four bladed propellers and took part in 1912 manoeuvres.
It was later used by the Royal Naval Air as HMA 17. With a Clerget engine and a crew of three, the airship had a maximum speed of 35 mph, could reach an altitude of 400 feet and had an endurance of five hours.
After time doing air reconnaissance over enemy
lines during WWI, she escorted ships across the English Channel and returned to Britain where she was used for preliminary training for all airship pilots. The BETA was retired in 1916.
Valentine & Sons Ltd Melbourne was originally known as a postcard company, founded in Dundee, Scotland in 1850.
It is very likely that the Melbourne company commissioned Willow Art of Longton, Staffordshire to produce these items, with hand-coloured transfer prints, to be sold under the Valentine name.

×

Valentine & Sons Ltd, Melbourne

Reference: see 17th Australiana Virtual Show and Tell Report MAY/JUNE 2022, on line: https://www.australiana.org.au/news
BETA Airship by Kangaroo Art.
Crested china miniature BETA airship with the hand coloured 1912 Commonwealth Australian Coat of Arms, marked on base: ’Kangaroo” Art, China, Valentine & Sons Ltd, Melbourne. Length 8 cm, width 4 cm, height 6 cm.
The BETA was a pre-WWI British non-rigid airship constructed by the Army Balloon Factory in 1910 with a rubberized fabric skin and was prone to accidents. It was followed by BETA II, with a new design ‘envelope’ of goldbeaters skin (processed animal gut skin gut membrane), with four bladed propellers and took part in 1912 manoeuvres.
It was later used by the Royal Naval Air as HMA 17. With a Clerget engine and a crew of three, the airship had a maximum speed of 35 mph, could reach an altitude of 400 feet and had an endurance of five hours.
After time doing air reconnaissance over enemy
lines during WWI, she escorted ships across the English Channel and returned to Britain where she was used for preliminary training for all airship pilots. The BETA was retired in 1916.
Valentine & Sons Ltd Melbourne was originally known as a postcard company, founded in Dundee, Scotland in 1850.
It is very likely that the Melbourne company commissioned Willow Art of Longton, Staffordshire to produce these items, with hand-coloured transfer prints, to be sold under the Valentine name.

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Plate Margoview full entry

Reference: see 17th Australiana Virtual Show and Tell Report MAY/JUNE 2022, on line: https://www.australiana.org.au/news
Pottery bowl hand painted with flannel flowers, signed Margo Plate. Base marked Margo’s Pottery 26. Diameter 18 cm.
Hettie Margaret (Margo) Lewers nee Plate (1908– 1978) was born in Perth, the daughter of German born grazier-artist Adolf Plate who died soon after the family returned to Sydney in 1914. She met
her husband
Gerald Lewers (1905-1962) at
Antonio Dattilo-Rubbo’s evening art-classes in the
late 1920s and they married in 1932. In 1934 they
went overseas and enrolled at the Central School
of Arts and Crafts, London. Gerald studied under
John Skeaping and Margo worked at textile design,
painting and drawing with John Farleigh.
On their return to Sydney in 1935, Margo set up her own studio printing textiles and made hand painted pottery; this piece probably dates from that period. Until 1939 she operated the Notanda Gallery, a fashionable interior decorating shop in Rowe Street.
Her brother painter Carl Plate r
gallery in 1940, where he exhibited British and
Australian modern art, and sold art books and
posters.
e-established the

Margo Lewers' career continued to develop and she became one of the most influential figures in the Sydney art scene.

Lewers’ house in Emu Plains became a popular meeting place for the close modernist arts circle in NSW much like the Reeds’ Heide in Victoria. When Margo died in 1978 her daughters Darani and Tanya gave the family home to Penrith City Council on behalf of the local community as a heritage site and arts centre. Largely funded from the family’s construction, concrete and quarry business, Farley and Lewers, it was opened as The Lewers Bequest & Penrith Regional Gallery in 1981.

×

Plate Margo

Reference: see 17th Australiana Virtual Show and Tell Report MAY/JUNE 2022, on line: https://www.australiana.org.au/news
Pottery bowl hand painted with flannel flowers, signed Margo Plate. Base marked Margo’s Pottery 26. Diameter 18 cm.
Hettie Margaret (Margo) Lewers nee Plate (1908– 1978) was born in Perth, the daughter of German born grazier-artist Adolf Plate who died soon after the family returned to Sydney in 1914. She met
her husband
Gerald Lewers (1905-1962) at
Antonio Dattilo-Rubbo’s evening art-classes in the
late 1920s and they married in 1932. In 1934 they
went overseas and enrolled at the Central School
of Arts and Crafts, London. Gerald studied under
John Skeaping and Margo worked at textile design,
painting and drawing with John Farleigh.
On their return to Sydney in 1935, Margo set up her own studio printing textiles and made hand painted pottery; this piece probably dates from that period. Until 1939 she operated the Notanda Gallery, a fashionable interior decorating shop in Rowe Street.
Her brother painter Carl Plate r
gallery in 1940, where he exhibited British and
Australian modern art, and sold art books and
posters.
e-established the

Margo Lewers' career continued to develop and she became one of the most influential figures in the Sydney art scene.

Lewers’ house in Emu Plains became a popular meeting place for the close modernist arts circle in NSW much like the Reeds’ Heide in Victoria. When Margo died in 1978 her daughters Darani and Tanya gave the family home to Penrith City Council on behalf of the local community as a heritage site and arts centre. Largely funded from the family’s construction, concrete and quarry business, Farley and Lewers, it was opened as The Lewers Bequest & Penrith Regional Gallery in 1981.

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Plate Carlview full entry

Reference: see 17th Australiana Virtual Show and Tell Report MAY/JUNE 2022, on line: https://www.australiana.org.au/news
Pottery bowl hand painted with flannel flowers, signed Margo Plate. Base marked Margo’s Pottery 26. Diameter 18 cm.
Hettie Margaret (Margo) Lewers nee Plate (1908– 1978) was born in Perth, the daughter of German born grazier-artist Adolf Plate who died soon after the family returned to Sydney in 1914. She met
her husband
Gerald Lewers (1905-1962) at
Antonio Dattilo-Rubbo’s evening art-classes in the
late 1920s and they married in 1932. In 1934 they
went overseas and enrolled at the Central School
of Arts and Crafts, London. Gerald studied under
John Skeaping and Margo worked at textile design,
painting and drawing with John Farleigh.
On their return to Sydney in 1935, Margo set up her own studio printing textiles and made hand painted pottery; this piece probably dates from that period. Until 1939 she operated the Notanda Gallery, a fashionable interior decorating shop in Rowe Street.
Her brother painter Carl Plate r
gallery in 1940, where he exhibited British and
Australian modern art, and sold art books and
posters.
e-established the

Margo Lewers' career continued to develop and she became one of the most influential figures in the Sydney art scene.

Lewers’ house in Emu Plains became a popular meeting place for the close modernist arts circle in NSW much like the Reeds’ Heide in Victoria. When Margo died in 1978 her daughters Darani and Tanya gave the family home to Penrith City Council on behalf of the local community as a heritage site and arts centre. Largely funded from the family’s construction, concrete and quarry business, Farley and Lewers, it was opened as The Lewers Bequest & Penrith Regional Gallery in 1981.

×

Plate Carl

Reference: see 17th Australiana Virtual Show and Tell Report MAY/JUNE 2022, on line: https://www.australiana.org.au/news
Pottery bowl hand painted with flannel flowers, signed Margo Plate. Base marked Margo’s Pottery 26. Diameter 18 cm.
Hettie Margaret (Margo) Lewers nee Plate (1908– 1978) was born in Perth, the daughter of German born grazier-artist Adolf Plate who died soon after the family returned to Sydney in 1914. She met
her husband
Gerald Lewers (1905-1962) at
Antonio Dattilo-Rubbo’s evening art-classes in the
late 1920s and they married in 1932. In 1934 they
went overseas and enrolled at the Central School
of Arts and Crafts, London. Gerald studied under
John Skeaping and Margo worked at textile design,
painting and drawing with John Farleigh.
On their return to Sydney in 1935, Margo set up her own studio printing textiles and made hand painted pottery; this piece probably dates from that period. Until 1939 she operated the Notanda Gallery, a fashionable interior decorating shop in Rowe Street.
Her brother painter Carl Plate r
gallery in 1940, where he exhibited British and
Australian modern art, and sold art books and
posters.
e-established the

Margo Lewers' career continued to develop and she became one of the most influential figures in the Sydney art scene.

Lewers’ house in Emu Plains became a popular meeting place for the close modernist arts circle in NSW much like the Reeds’ Heide in Victoria. When Margo died in 1978 her daughters Darani and Tanya gave the family home to Penrith City Council on behalf of the local community as a heritage site and arts centre. Largely funded from the family’s construction, concrete and quarry business, Farley and Lewers, it was opened as The Lewers Bequest & Penrith Regional Gallery in 1981.

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Lewers Margoview full entry

Reference: see 17th Australiana Virtual Show and Tell Report MAY/JUNE 2022, on line: https://www.australiana.org.au/news
Pottery bowl hand painted with flannel flowers, signed Margo Plate. Base marked Margo’s Pottery 26. Diameter 18 cm.
Hettie Margaret (Margo) Lewers nee Plate (1908– 1978) was born in Perth, the daughter of German born grazier-artist Adolf Plate who died soon after the family returned to Sydney in 1914. She met
her husband
Gerald Lewers (1905-1962) at
Antonio Dattilo-Rubbo’s evening art-classes in the
late 1920s and they married in 1932. In 1934 they
went overseas and enrolled at the Central School
of Arts and Crafts, London. Gerald studied under
John Skeaping and Margo worked at textile design,
painting and drawing with John Farleigh.
On their return to Sydney in 1935, Margo set up her own studio printing textiles and made hand painted pottery; this piece probably dates from that period. Until 1939 she operated the Notanda Gallery, a fashionable interior decorating shop in Rowe Street.
Her brother painter Carl Plate r
gallery in 1940, where he exhibited British and
Australian modern art, and sold art books and
posters.
e-established the

Margo Lewers' career continued to develop and she became one of the most influential figures in the Sydney art scene.

Lewers’ house in Emu Plains became a popular meeting place for the close modernist arts circle in NSW much like the Reeds’ Heide in Victoria. When Margo died in 1978 her daughters Darani and Tanya gave the family home to Penrith City Council on behalf of the local community as a heritage site and arts centre. Largely funded from the family’s construction, concrete and quarry business, Farley and Lewers, it was opened as The Lewers Bequest & Penrith Regional Gallery in 1981.

×

Lewers Margo

Reference: see 17th Australiana Virtual Show and Tell Report MAY/JUNE 2022, on line: https://www.australiana.org.au/news
Pottery bowl hand painted with flannel flowers, signed Margo Plate. Base marked Margo’s Pottery 26. Diameter 18 cm.
Hettie Margaret (Margo) Lewers nee Plate (1908– 1978) was born in Perth, the daughter of German born grazier-artist Adolf Plate who died soon after the family returned to Sydney in 1914. She met
her husband
Gerald Lewers (1905-1962) at
Antonio Dattilo-Rubbo’s evening art-classes in the
late 1920s and they married in 1932. In 1934 they
went overseas and enrolled at the Central School
of Arts and Crafts, London. Gerald studied under
John Skeaping and Margo worked at textile design,
painting and drawing with John Farleigh.
On their return to Sydney in 1935, Margo set up her own studio printing textiles and made hand painted pottery; this piece probably dates from that period. Until 1939 she operated the Notanda Gallery, a fashionable interior decorating shop in Rowe Street.
Her brother painter Carl Plate r
gallery in 1940, where he exhibited British and
Australian modern art, and sold art books and
posters.
e-established the

Margo Lewers' career continued to develop and she became one of the most influential figures in the Sydney art scene.

Lewers’ house in Emu Plains became a popular meeting place for the close modernist arts circle in NSW much like the Reeds’ Heide in Victoria. When Margo died in 1978 her daughters Darani and Tanya gave the family home to Penrith City Council on behalf of the local community as a heritage site and arts centre. Largely funded from the family’s construction, concrete and quarry business, Farley and Lewers, it was opened as The Lewers Bequest & Penrith Regional Gallery in 1981.

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Taylor & Sharp jewellers Tasmaniaview full entry

Reference: see 17th Australiana Virtual Show and Tell Report MAY/JUNE 2022, on line: https://www.australiana.org.au/news
Taylor & Sharp Tasmania snake or tendril, silver spoon, Engraved ‘Tasmania’, maker’s mark T & S, Stg Silver, length 12.5 cm
Taylor and Sharp were a substantial jewellery
manufacturing, watchmaking and engraving
business based in Hobart from 1894 into the
1950s. Their stock included ‘a choice assortment of
diamond goods, modern designs in Art jewellery,
Sterling Silverware, Novelties and the latest Melba
bracelet’ (Advertisement in Hobart Mercury in
January 1903).
Perhaps the addition of the snake was as a
souvenir of a medical conference held in Tasmania
or possibly a conference for herpetologists?
There was a medical conference held in Hobart in
February 1902 which discussed the formation of
the Australian Medical Association.
From the description supplied by the owner, ‘the
snake is held in place by its shape but is not
actually attached and is slightly mobile’ may suggest that the snake is ‘an addition’ to a standard stock spoon sold by Taylor and Sharp. Perhaps the addition of the snake was as a
souvenir of a medical conference held in Tasmania
or possibly a conference for herpetologists?
There was a medical conference held in Hobart... The Ancient Greeks regarded snakes as sacred and used them in healing rituals to honour Asclepius, as snake venom was thought to be remedial and their skin-shedding was viewed as a symbol of rebirth and renewal. It is a traditional symbol of medicine used by many medical organisations around the world.

×

Taylor & Sharp jewellers Tasmania

Reference: see 17th Australiana Virtual Show and Tell Report MAY/JUNE 2022, on line: https://www.australiana.org.au/news
Taylor & Sharp Tasmania snake or tendril, silver spoon, Engraved ‘Tasmania’, maker’s mark T & S, Stg Silver, length 12.5 cm
Taylor and Sharp were a substantial jewellery
manufacturing, watchmaking and engraving
business based in Hobart from 1894 into the
1950s. Their stock included ‘a choice assortment of
diamond goods, modern designs in Art jewellery,
Sterling Silverware, Novelties and the latest Melba
bracelet’ (Advertisement in Hobart Mercury in
January 1903).
Perhaps the addition of the snake was as a
souvenir of a medical conference held in Tasmania
or possibly a conference for herpetologists?
There was a medical conference held in Hobart in
February 1902 which discussed the formation of
the Australian Medical Association.
From the description supplied by the owner, ‘the
snake is held in place by its shape but is not
actually attached and is slightly mobile’ may suggest that the snake is ‘an addition’ to a standard stock spoon sold by Taylor and Sharp. Perhaps the addition of the snake was as a
souvenir of a medical conference held in Tasmania
or possibly a conference for herpetologists?
There was a medical conference held in Hobart... The Ancient Greeks regarded snakes as sacred and used them in healing rituals to honour Asclepius, as snake venom was thought to be remedial and their skin-shedding was viewed as a symbol of rebirth and renewal. It is a traditional symbol of medicine used by many medical organisations around the world.

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Barak Williamview full entry

Reference: William Barak - Remembering. By Judith Ryan, Carol Cooper, Joy Murphy-Wandin. [Remembering Barak celebrates the memory of a remarkable Aboriginal leader, William Barak, Yarra Yarra chief (1824 - 1903), a man whose troubled but dignified life bridged two very disparate cultures and whose art has not only survived but strengthened over this past century, continuing to communicate something both unique and significant about Aboriginal life.]

Publishing details: Melbourne, National Gallery of Victoria, 2003, 64 pages, paperback, soft cover,
Numerous illustrations in and out of the text
Ref: 1009

×

Barak William

Reference: William Barak - Remembering. By Judith Ryan, Carol Cooper, Joy Murphy-Wandin. [Remembering Barak celebrates the memory of a remarkable Aboriginal leader, William Barak, Yarra Yarra chief (1824 - 1903), a man whose troubled but dignified life bridged two very disparate cultures and whose art has not only survived but strengthened over this past century, continuing to communicate something both unique and significant about Aboriginal life.]

Publishing details: Melbourne, National Gallery of Victoria, 2003, 64 pages, paperback, soft cover,
Numerous illustrations in and out of the text

Location: 1009

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Heilview full entry

Reference: see NIGEL WARD & COMPANY, auction, UK, 2.7.22, lot 1259 A tablecloth designed in Australia by Heil 4' 2" x 3' 11" depicting Australian wild flowers together with an embroidered square cloth, an embroidered picture (unframed), etc.

×

Heil

Reference: see NIGEL WARD & COMPANY, auction, UK, 2.7.22, lot 1259 A tablecloth designed in Australia by Heil 4' 2" x 3' 11" depicting Australian wild flowers together with an embroidered square cloth, an embroidered picture (unframed), etc.

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Bridgeland Judithview full entry

Reference: see BENTLEY'S AUCTION ROOMS, 2.7.22. lot 541, Judith Bridgland (Scottish/Australian, b. 1962) - 'Lochranza, Arran', oil on canvas, signed, label verso, 80cm x 120cm, framed. NB: For further info please see www.jibridgland.com Condition report: Large, bright and vibrant, no issues.

×

Bridgeland Judith

Reference: see BENTLEY'S AUCTION ROOMS, 2.7.22. lot 541, Judith Bridgland (Scottish/Australian, b. 1962) - 'Lochranza, Arran', oil on canvas, signed, label verso, 80cm x 120cm, framed. NB: For further info please see www.jibridgland.com Condition report: Large, bright and vibrant, no issues.

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Wells Samuel cartoonistview full entry

Reference: see KNIGHTS SPORTING AUCTIONS, UK, 8-10 July, 2022, lot 543 and 544
Samuel Wells cartoons. Victoria 1956/57 and 1959/60. Three excellent large original pen and ink caricature/ cartoon artworks by artist Samuel Wells, two with blue shading, presumably for the Age newspaper, Australia. In one, the top portion reports on the Sheffield Shield matches played 29th December 1956- 2nd January 1957, commenting on 'Centuries from Shield Games which we never expected to see again in our cricket', the highest being a 'Bradman like' 198 by Willie Watson to save New South Wales 'from the jaws of the Q'land alligator'. Also featured is the athlete, Betty Cuthbert, winner of the 'Sportsman of the Year' award for 1956. Another relates to the Victoria v South Australia match at Melbourne, South Australia captain, 'McRidings' and bowler, 'McDrennan' are depicted 'Piping in the "Sag"gis' having reduced Victoria from 202/3 to 252/8 at the close of the first day's play, Barry Jarman who 'did a good "bottling good job"' having taking five catches and a stumping. Don Bradman is depicted below in suit and trilby 'smackin' 'em to the boundary as of yore'. Victoria went on to win by 152 runs. Both 11.25"x18". The third cartoon reports on Victoria v South Australia at Melbourne, 1st- 5th January 1960, in which '[J.C.] Lill scored 176 in South Australia's first innings, in reply Bill Lawry is seen at the end of the second day's play singing 'Anything they can do we can do better' having scored 85, Furlong 68, Wildsmith 22no etc. Below are depicted 'New (South) Australians', Ray McCormick, Howard Mutton, Brian Quigley, Mick Clingly etc. Victoria won by six wickets. 14.5"x21". The cartoons signed by Wells. Excellent images. G/VG - cricket

×

Wells Samuel cartoonist

Reference: see KNIGHTS SPORTING AUCTIONS, UK, 8-10 July, 2022, lot 543 and 544
Samuel Wells cartoons. Victoria 1956/57 and 1959/60. Three excellent large original pen and ink caricature/ cartoon artworks by artist Samuel Wells, two with blue shading, presumably for the Age newspaper, Australia. In one, the top portion reports on the Sheffield Shield matches played 29th December 1956- 2nd January 1957, commenting on 'Centuries from Shield Games which we never expected to see again in our cricket', the highest being a 'Bradman like' 198 by Willie Watson to save New South Wales 'from the jaws of the Q'land alligator'. Also featured is the athlete, Betty Cuthbert, winner of the 'Sportsman of the Year' award for 1956. Another relates to the Victoria v South Australia match at Melbourne, South Australia captain, 'McRidings' and bowler, 'McDrennan' are depicted 'Piping in the "Sag"gis' having reduced Victoria from 202/3 to 252/8 at the close of the first day's play, Barry Jarman who 'did a good "bottling good job"' having taking five catches and a stumping. Don Bradman is depicted below in suit and trilby 'smackin' 'em to the boundary as of yore'. Victoria went on to win by 152 runs. Both 11.25"x18". The third cartoon reports on Victoria v South Australia at Melbourne, 1st- 5th January 1960, in which '[J.C.] Lill scored 176 in South Australia's first innings, in reply Bill Lawry is seen at the end of the second day's play singing 'Anything they can do we can do better' having scored 85, Furlong 68, Wildsmith 22no etc. Below are depicted 'New (South) Australians', Ray McCormick, Howard Mutton, Brian Quigley, Mick Clingly etc. Victoria won by six wickets. 14.5"x21". The cartoons signed by Wells. Excellent images. G/VG - cricket

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Ainsworth Kerriview full entry

Reference: ADAMS, L. & G. THE BLACK SWANS. Illustrated by Kerri Ainsworth. Tells the story of how Australian swans were originally white, but after a flock of eagles is hunted with boomerangs, a group of crows band together to help camouflage them with their crow feathers.
Publishing details: SRA Australian Stories. Syd. Science Research Associates 1979. 4to. Col.ill.bds. 24pp. Profusely illustrated in colour.
Ref: 1000

×

Ainsworth Kerri

Reference: ADAMS, L. & G. THE BLACK SWANS. Illustrated by Kerri Ainsworth. Tells the story of how Australian swans were originally white, but after a flock of eagles is hunted with boomerangs, a group of crows band together to help camouflage them with their crow feathers.

Publishing details: SRA Australian Stories. Syd. Science Research Associates 1979. 4to. Col.ill.bds. 24pp. Profusely illustrated in colour.

Location: 1000

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Olive Barryview full entry

Reference: ADAMS, L. & G. THE BUTTERFLIES OF SPRING. Illustrated by Barry Olive. The story of how the very first butterflies appeared in Australia begins when a young parrot falls out of a tree & dies. A wise lizard tells the bush animals that its spirit will return in a new form.

Publishing details: SRA Australian Stories. Syd. Science Research Associates 1979. 4to. Col. ill. bds. 24pp. Profusely illustrated in colour.
Ref: 1000

×

Olive Barry

Reference: ADAMS, L. & G. THE BUTTERFLIES OF SPRING. Illustrated by Barry Olive. The story of how the very first butterflies appeared in Australia begins when a young parrot falls out of a tree & dies. A wise lizard tells the bush animals that its spirit will return in a new form.

Publishing details: SRA Australian Stories. Syd. Science Research Associates 1979. 4to. Col. ill. bds. 24pp. Profusely illustrated in colour.

Location: 1000

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Riordan Chrisview full entry

Reference: ADAMS, L. & G. THE WHIRLWIND AND THE FROGS. Illustrated by Chris Riordan. Tells the story of how frogs went from being quite bold & brave to timid & frightened creatures after a big whirlwind sweeps
through their pond.
Publishing details: SRA Australian Stories. Syd. Science Research
Associates 1979. 4to. Col.ill.bds. 24pp. Profusely illustrated in colour.
Ref: 1000

×

Riordan Chris

Reference: ADAMS, L. & G. THE WHIRLWIND AND THE FROGS. Illustrated by Chris Riordan. Tells the story of how frogs went from being quite bold & brave to timid & frightened creatures after a big whirlwind sweeps
through their pond.

Publishing details: SRA Australian Stories. Syd. Science Research
Associates 1979. 4to. Col.ill.bds. 24pp. Profusely illustrated in colour.

Location: 1000

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Olley Margaret calendar for Home exhibitionview full entry

Reference: OLLEY, Margaret. MARGARET OLLEY: HOME. Interiors at Duxford Street. Museum of Sydney, 10 November 2012 to 2 April 2013. Exhibition Catalogue. An exhibition of paintings, photographs & memories of the artist Margaret Olley’s house in Duxford Street, Paddington that was organised as part of the Sydney Open 2012 event that opened many houses.
Publishing details: Syd. Museum of Sydney. 2012. Col.Ill.wrapps. 48pp. col & b/w ills
Ref: 1000

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Olley Margaret calendar for Home exhibition

Reference: OLLEY, Margaret. MARGARET OLLEY: HOME. Interiors at Duxford Street. Museum of Sydney, 10 November 2012 to 2 April 2013. Exhibition Catalogue. An exhibition of paintings, photographs & memories of the artist Margaret Olley’s house in Duxford Street, Paddington that was organised as part of the Sydney Open 2012 event that opened many houses.

Publishing details: Syd. Museum of Sydney. 2012. Col.Ill.wrapps. 48pp. col & b/w ills

Location: 1000

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Olley Margaretview full entry

Reference: Margaret Olley 1923 - 2011, by Barry Pearce, foreword by Edmund Capon,
Publishing details: Beagle Press 2012 1st Ed Hardcover with dustjacket, 264pp
Ref: 1009

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Olley Margaret

Reference: Margaret Olley 1923 - 2011, by Barry Pearce, foreword by Edmund Capon,

Publishing details: Beagle Press 2012 1st Ed Hardcover with dustjacket, 264pp

Location: 1009

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Collecting Australian Pot Lids view full entry

Reference: Collecting Australian Pot Lids and the Lives of Our Early Pharmacists by Robert Keil ‘What a fabulous contribution to Australian social history concerning the history of medicinal drugs in colonial Australia and the men and occasional woman who sold them.’

Publishing details: Published by the Author in Whyalla in 1981. Hardback Dustwrapper, illustrations, special limited edition
Ref: 1000

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Collecting Australian Pot Lids

Reference: Collecting Australian Pot Lids and the Lives of Our Early Pharmacists by Robert Keil ‘What a fabulous contribution to Australian social history concerning the history of medicinal drugs in colonial Australia and the men and occasional woman who sold them.’

Publishing details: Published by the Author in Whyalla in 1981. Hardback Dustwrapper, illustrations, special limited edition

Location: 1000

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Pot Lids view full entry

Reference: see Collecting Australian Pot Lids and the Lives of Our Early Pharmacists by Robert Keil ‘What a fabulous contribution to Australian social history concerning the history of medicinal drugs in colonial Australia and the men and occasional woman who sold them.’

Publishing details: Published by the Author in Whyalla in 1981. Hardback Dustwrapper, illustrations, special limited edition

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Pot Lids

Reference: see Collecting Australian Pot Lids and the Lives of Our Early Pharmacists by Robert Keil ‘What a fabulous contribution to Australian social history concerning the history of medicinal drugs in colonial Australia and the men and occasional woman who sold them.’

Publishing details: Published by the Author in Whyalla in 1981. Hardback Dustwrapper, illustrations, special limited edition

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Lids for potsview full entry

Reference: see Collecting Australian Pot Lids and the Lives of Our Early Pharmacists by Robert Keil ‘What a fabulous contribution to Australian social history concerning the history of medicinal drugs in colonial Australia and the men and occasional woman who sold them.’

Publishing details: Published by the Author in Whyalla in 1981. Hardback Dustwrapper, illustrations, special limited edition

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Lids for pots

Reference: see Collecting Australian Pot Lids and the Lives of Our Early Pharmacists by Robert Keil ‘What a fabulous contribution to Australian social history concerning the history of medicinal drugs in colonial Australia and the men and occasional woman who sold them.’

Publishing details: Published by the Author in Whyalla in 1981. Hardback Dustwrapper, illustrations, special limited edition

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Australian War Photographs view full entry

Reference: Australian War Photographs A Pictorial Record from November 1917 to the End of the War. Edited by Captain Geo H Wilkins.
Publishing details: Published by A.I.F 1919.
Ref: 1000

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Australian War Photographs

Reference: Australian War Photographs A Pictorial Record from November 1917 to the End of the War. Edited by Captain Geo H Wilkins.

Publishing details: Published by A.I.F 1919.

Location: 1000

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War Photographs view full entry

Reference: see Australian War Photographs A Pictorial Record from November 1917 to the End of the War. Edited by Captain Geo H Wilkins.
Publishing details: Published by A.I.F 1919.

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War Photographs

Reference: see Australian War Photographs A Pictorial Record from November 1917 to the End of the War. Edited by Captain Geo H Wilkins.

Publishing details: Published by A.I.F 1919.

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Photographs of warview full entry

Reference: see Australian War Photographs A Pictorial Record from November 1917 to the End of the War. Edited by Captain Geo H Wilkins.
Publishing details: Published by A.I.F 1919.

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Photographs of war

Reference: see Australian War Photographs A Pictorial Record from November 1917 to the End of the War. Edited by Captain Geo H Wilkins.

Publishing details: Published by A.I.F 1919.

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Earle Augustusview full entry

Reference: see EARLE: HIS BUNGAREE, Augustus Earle, Bungaree, a native of New South Wales, c.1826, by Roy Forward, National Gallery of Australia Research Paper no. 19
Publishing details: https://www.academia.edu/3962120/EARLE_HIS_BUNGAREE_Augustus_Earle_Bungaree_a_native_of_New_South_Wales_c_1826_by_Roy_Forward_National_Gallery_of_Australia_Research_Paper_no_19?email_work_card=thumbnail

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Earle Augustus

Reference: see EARLE: HIS BUNGAREE, Augustus Earle, Bungaree, a native of New South Wales, c.1826, by Roy Forward, National Gallery of Australia Research Paper no. 19

Publishing details: https://www.academia.edu/3962120/EARLE_HIS_BUNGAREE_Augustus_Earle_Bungaree_a_native_of_New_South_Wales_c_1826_by_Roy_Forward_National_Gallery_of_Australia_Research_Paper_no_19?email_work_card=thumbnail

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Michelmore Maryview full entry

Reference: see Asian Antiques and Estate Auction, Columbia, MD, United States, 7/10/2022, lot 2327: Bronze Wombat Sculpture by Mary Michelmore, Australia.. L 7 cm

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Michelmore Mary

Reference: see Asian Antiques and Estate Auction, Columbia, MD, United States, 7/10/2022, lot 2327: Bronze Wombat Sculpture by Mary Michelmore, Australia.. L 7 cm

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Tracker Natview full entry

Reference: see The Conversation, Rediscovering the art of Tracker Nat: ‘the Namatjira of carving’
Published: July 4, 2022, by Darren Jorgensen Senior lecturer in art history, The University of Western Australia, and Joseph Yugi Williams Artist and Men’s Art Facilitator, Nyinkka Nyunyu, Indigenous Knowledge. ‘A tribal painter, said to be more famous than the late Albert Namatjira, has just died at Warrabri welfare settlement, near Tennant Creek. He was Nat Warano, of whose skill few white men had heard.
Locally, Warano is remembered as Tracker Nat. Born in the 1880s, Nat worked as a drover during the 1930s, before becoming a police tracker. He was also a leader and diplomat of the Warumungu people during a tumultuous period of their history.
During the 1940s and 1950s Nat was a prolific carver of coolamons, spearthrowers, shields and water carriers, painting them with men dancing in ceremonial dress and body paint, as well as men hunting with boomerangs and spears...’

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Tracker Nat

Reference: see The Conversation, Rediscovering the art of Tracker Nat: ‘the Namatjira of carving’
Published: July 4, 2022, by Darren Jorgensen Senior lecturer in art history, The University of Western Australia, and Joseph Yugi Williams Artist and Men’s Art Facilitator, Nyinkka Nyunyu, Indigenous Knowledge. ‘A tribal painter, said to be more famous than the late Albert Namatjira, has just died at Warrabri welfare settlement, near Tennant Creek. He was Nat Warano, of whose skill few white men had heard.
Locally, Warano is remembered as Tracker Nat. Born in the 1880s, Nat worked as a drover during the 1930s, before becoming a police tracker. He was also a leader and diplomat of the Warumungu people during a tumultuous period of their history.
During the 1940s and 1950s Nat was a prolific carver of coolamons, spearthrowers, shields and water carriers, painting them with men dancing in ceremonial dress and body paint, as well as men hunting with boomerangs and spears...’

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Nat - Tracker Natview full entry

Reference: see The Conversation, Rediscovering the art of Tracker Nat: ‘the Namatjira of carving’
Published: July 4, 2022, by Darren Jorgensen Senior lecturer in art history, The University of Western Australia, and Joseph Yugi Williams Artist and Men’s Art Facilitator, Nyinkka Nyunyu, Indigenous Knowledge. ‘A tribal painter, said to be more famous than the late Albert Namatjira, has just died at Warrabri welfare settlement, near Tennant Creek. He was Nat Warano, of whose skill few white men had heard.
Locally, Warano is remembered as Tracker Nat. Born in the 1880s, Nat worked as a drover during the 1930s, before becoming a police tracker. He was also a leader and diplomat of the Warumungu people during a tumultuous period of their history.
During the 1940s and 1950s Nat was a prolific carver of coolamons, spearthrowers, shields and water carriers, painting them with men dancing in ceremonial dress and body paint, as well as men hunting with boomerangs and spears...’

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Nat - Tracker Nat

Reference: see The Conversation, Rediscovering the art of Tracker Nat: ‘the Namatjira of carving’
Published: July 4, 2022, by Darren Jorgensen Senior lecturer in art history, The University of Western Australia, and Joseph Yugi Williams Artist and Men’s Art Facilitator, Nyinkka Nyunyu, Indigenous Knowledge. ‘A tribal painter, said to be more famous than the late Albert Namatjira, has just died at Warrabri welfare settlement, near Tennant Creek. He was Nat Warano, of whose skill few white men had heard.
Locally, Warano is remembered as Tracker Nat. Born in the 1880s, Nat worked as a drover during the 1930s, before becoming a police tracker. He was also a leader and diplomat of the Warumungu people during a tumultuous period of their history.
During the 1940s and 1950s Nat was a prolific carver of coolamons, spearthrowers, shields and water carriers, painting them with men dancing in ceremonial dress and body paint, as well as men hunting with boomerangs and spears...’

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Warano Nat , - Tracker Natview full entry

Reference: see The Conversation, Rediscovering the art of Tracker Nat: ‘the Namatjira of carving’
Published: July 4, 2022, by Darren Jorgensen Senior lecturer in art history, The University of Western Australia, and Joseph Yugi Williams Artist and Men’s Art Facilitator, Nyinkka Nyunyu, Indigenous Knowledge. ‘A tribal painter, said to be more famous than the late Albert Namatjira, has just died at Warrabri welfare settlement, near Tennant Creek. He was Nat Warano, of whose skill few white men had heard.
Locally, Warano is remembered as Tracker Nat. Born in the 1880s, Nat worked as a drover during the 1930s, before becoming a police tracker. He was also a leader and diplomat of the Warumungu people during a tumultuous period of their history.
During the 1940s and 1950s Nat was a prolific carver of coolamons, spearthrowers, shields and water carriers, painting them with men dancing in ceremonial dress and body paint, as well as men hunting with boomerangs and spears...’

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Warano Nat , - Tracker Nat

Reference: see The Conversation, Rediscovering the art of Tracker Nat: ‘the Namatjira of carving’
Published: July 4, 2022, by Darren Jorgensen Senior lecturer in art history, The University of Western Australia, and Joseph Yugi Williams Artist and Men’s Art Facilitator, Nyinkka Nyunyu, Indigenous Knowledge. ‘A tribal painter, said to be more famous than the late Albert Namatjira, has just died at Warrabri welfare settlement, near Tennant Creek. He was Nat Warano, of whose skill few white men had heard.
Locally, Warano is remembered as Tracker Nat. Born in the 1880s, Nat worked as a drover during the 1930s, before becoming a police tracker. He was also a leader and diplomat of the Warumungu people during a tumultuous period of their history.
During the 1940s and 1950s Nat was a prolific carver of coolamons, spearthrowers, shields and water carriers, painting them with men dancing in ceremonial dress and body paint, as well as men hunting with boomerangs and spears...’

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Wendt jewellers Adelaideview full entry

Reference: see SA Australiana Study Group 79th Meeting, 2 June 2022:
Silver polo trophy in the form of a hydria, by Wendt, Adelaide, c1902. Height 19 cm. The inscription reads: “SOUTH AUSTRALIAN POLO ASSOCIATION / CHALLENGE CUP / Presented by / R. Barr-Smith / Won by / ADELAIDE POLO CLUB / 1902”. Robert Barr Smith (1824-1915) was a Scotsman who came to Australia in 1854, becoming in 1863 with Thomas Elder one of the two partners in the firm of Elder Smith & Co. With its widespread pastoral, mining and shipping interests the firm generated a vast amount of wealth for Smith and Elder, who were brothers-in-law, both of whom were renowned for their support of charitable causes. Both were keen sportsmen, with Smith playing in Adelaide’s first polo match in 1876, and his sons Tom and Bertie following suite.
There was considerable interest in Adelaide at the time in the archaeological relics being found in excavations at Pompeii, and when Smith presented a “cup” for polo in 1901 the Advertiser newspaper described it as “...a perfect piece of silverware, but it represents, in shape and form, a rare and old relic saved from the ruins of Pompeii, the original being rightly carefully and jealously kept by the Adelaide School of Art.” The following year when he presented this prize for the same competition it seems likely that the same design would have been adopted. In 1903 Brig.-Gen. Gordon presented a “handsome cup” but its form is not known to the writer.
Attempts to find the model for these trophies have been unsuccessful, and it could well be hidden away in the collection of the Adelaide University’s (now closed) Museum of Classical Archaeology. As late as 1927 the jewellery firm of Wendt’s presented another such hydria to the Adelaide Hunt Club, to be the Hunt Club Cup for that year. With similar markings to the trophy above, it could well have been old stock.

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Wendt jewellers Adelaide

Reference: see SA Australiana Study Group 79th Meeting, 2 June 2022:
Silver polo trophy in the form of a hydria, by Wendt, Adelaide, c1902. Height 19 cm. The inscription reads: “SOUTH AUSTRALIAN POLO ASSOCIATION / CHALLENGE CUP / Presented by / R. Barr-Smith / Won by / ADELAIDE POLO CLUB / 1902”. Robert Barr Smith (1824-1915) was a Scotsman who came to Australia in 1854, becoming in 1863 with Thomas Elder one of the two partners in the firm of Elder Smith & Co. With its widespread pastoral, mining and shipping interests the firm generated a vast amount of wealth for Smith and Elder, who were brothers-in-law, both of whom were renowned for their support of charitable causes. Both were keen sportsmen, with Smith playing in Adelaide’s first polo match in 1876, and his sons Tom and Bertie following suite.
There was considerable interest in Adelaide at the time in the archaeological relics being found in excavations at Pompeii, and when Smith presented a “cup” for polo in 1901 the Advertiser newspaper described it as “...a perfect piece of silverware, but it represents, in shape and form, a rare and old relic saved from the ruins of Pompeii, the original being rightly carefully and jealously kept by the Adelaide School of Art.” The following year when he presented this prize for the same competition it seems likely that the same design would have been adopted. In 1903 Brig.-Gen. Gordon presented a “handsome cup” but its form is not known to the writer.
Attempts to find the model for these trophies have been unsuccessful, and it could well be hidden away in the collection of the Adelaide University’s (now closed) Museum of Classical Archaeology. As late as 1927 the jewellery firm of Wendt’s presented another such hydria to the Adelaide Hunt Club, to be the Hunt Club Cup for that year. With similar markings to the trophy above, it could well have been old stock.

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Matthews Peterview full entry

Reference: see SA Australiana Study Group 79th Meeting, 2 June 2022:
Oil painting on board, Elder Range from Arkapena, signed Peter Matthews, 1970.
Sight 38 x 68 cm.
Painted by Peter Matthews (1934-2022), a farmer near Victor Harbor, who often as here used a palette knife for his paintings. His main body of work was produced between 1968 and 1979. The current owners had mentioned to an Adelaide neighbor that they would like to have a painting of the Flinders Ranges, a place they had loved to visit over a married lifetime. The neighbor had a holiday house near the Matthews farm, knew of his skills, and arranged it all. And on Christmas Eve of 1970 Peter turned up on their doorstep holding the still wet painting, with instructions to let it dry out for three weeks undisturbed. No mean feat in a house with four small children. He suggested that if they decided they liked it, they could post him a cheque, otherwise he would pick it up later, saying “... it will probably do for now until you find a better painting to replace it.”
Although details of Peter’s life are scanty, the Victor Harbor Council named a street after him, and described him as a farmer, artist, inventor, councilor and the builder of an industrial complex in Maude Street. One of the tributes at his funeral in March this year was from another artist who “... was originally inspired by observing Peter Matthews, who used to paint in a camping ground outside the shop at Wilpena. He was an oil painter that absolutely fascinated me.” Peter’s son Christopher, a watercolourist, was born in 1958.

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Matthews Peter

Reference: see SA Australiana Study Group 79th Meeting, 2 June 2022:
Oil painting on board, Elder Range from Arkapena, signed Peter Matthews, 1970.
Sight 38 x 68 cm.
Painted by Peter Matthews (1934-2022), a farmer near Victor Harbor, who often as here used a palette knife for his paintings. His main body of work was produced between 1968 and 1979. The current owners had mentioned to an Adelaide neighbor that they would like to have a painting of the Flinders Ranges, a place they had loved to visit over a married lifetime. The neighbor had a holiday house near the Matthews farm, knew of his skills, and arranged it all. And on Christmas Eve of 1970 Peter turned up on their doorstep holding the still wet painting, with instructions to let it dry out for three weeks undisturbed. No mean feat in a house with four small children. He suggested that if they decided they liked it, they could post him a cheque, otherwise he would pick it up later, saying “... it will probably do for now until you find a better painting to replace it.”
Although details of Peter’s life are scanty, the Victor Harbor Council named a street after him, and described him as a farmer, artist, inventor, councilor and the builder of an industrial complex in Maude Street. One of the tributes at his funeral in March this year was from another artist who “... was originally inspired by observing Peter Matthews, who used to paint in a camping ground outside the shop at Wilpena. He was an oil painter that absolutely fascinated me.” Peter’s son Christopher, a watercolourist, was born in 1958.

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Matthews Christopher son of Peterview full entry

Reference: see SA Australiana Study Group 79th Meeting, 2 June 2022:
Oil painting on board, Elder Range from Arkapena, signed Peter Matthews, 1970.
Sight 38 x 68 cm.
Painted by Peter Matthews (1934-2022), a farmer near Victor Harbor, who often as here used a palette knife for his paintings. His main body of work was produced between 1968 and 1979. The current owners had mentioned to an Adelaide neighbor that they would like to have a painting of the Flinders Ranges, a place they had loved to visit over a married lifetime. The neighbor had a holiday house near the Matthews farm, knew of his skills, and arranged it all. And on Christmas Eve of 1970 Peter turned up on their doorstep holding the still wet painting, with instructions to let it dry out for three weeks undisturbed. No mean feat in a house with four small children. He suggested that if they decided they liked it, they could post him a cheque, otherwise he would pick it up later, saying “... it will probably do for now until you find a better painting to replace it.”
Although details of Peter’s life are scanty, the Victor Harbor Council named a street after him, and described him as a farmer, artist, inventor, councilor and the builder of an industrial complex in Maude Street. One of the tributes at his funeral in March this year was from another artist who “... was originally inspired by observing Peter Matthews, who used to paint in a camping ground outside the shop at Wilpena. He was an oil painter that absolutely fascinated me.” Peter’s son Christopher, a watercolourist, was born in 1958.

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Matthews Christopher son of Peter

Reference: see SA Australiana Study Group 79th Meeting, 2 June 2022:
Oil painting on board, Elder Range from Arkapena, signed Peter Matthews, 1970.
Sight 38 x 68 cm.
Painted by Peter Matthews (1934-2022), a farmer near Victor Harbor, who often as here used a palette knife for his paintings. His main body of work was produced between 1968 and 1979. The current owners had mentioned to an Adelaide neighbor that they would like to have a painting of the Flinders Ranges, a place they had loved to visit over a married lifetime. The neighbor had a holiday house near the Matthews farm, knew of his skills, and arranged it all. And on Christmas Eve of 1970 Peter turned up on their doorstep holding the still wet painting, with instructions to let it dry out for three weeks undisturbed. No mean feat in a house with four small children. He suggested that if they decided they liked it, they could post him a cheque, otherwise he would pick it up later, saying “... it will probably do for now until you find a better painting to replace it.”
Although details of Peter’s life are scanty, the Victor Harbor Council named a street after him, and described him as a farmer, artist, inventor, councilor and the builder of an industrial complex in Maude Street. One of the tributes at his funeral in March this year was from another artist who “... was originally inspired by observing Peter Matthews, who used to paint in a camping ground outside the shop at Wilpena. He was an oil painter that absolutely fascinated me.” Peter’s son Christopher, a watercolourist, was born in 1958.

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Rieken Gladys view full entry

Reference: see SA Australiana Study Group 79th Meeting, 2 June 2022:
Student’s Brushwork Exercise Book, Class 1, published by the Education Department of South Australia, 1906. Price 2d, 28 x 19 cm high.
Comprising sixteen pages of brush and watercolour exercises begun on 24.8.1910 and completed 12.5.1911 by student Gladys Rieken, each exercise marked in pencil by the teacher. The back cover has five printed illustrations as well as instructions on how to hold a brush and mix the colours; the front cover has an elaborate design incorporating the piping shrike. In small letters bottom left are the designer’s initials H.P.G. (Harry Pelling Gill).
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HP Gill was an English born and trained artist, a capable art teacher and curator who in 1882 came to South Australia and was appointed master of the Adelaide School of Design and in 1892 appointed honorary curator of the Art Gallery of South Australia.
The name of the school handwritten on the cover of the book tells us that Gladys Rieken attended the Le Fevre Peninsula Primary School (established 1878); the suffix Peninsula was used for the name of the primary school—it was omitted from the name of the high school, gazetted in 1911 as LeFevre High School.

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Rieken Gladys

Reference: see SA Australiana Study Group 79th Meeting, 2 June 2022:
Student’s Brushwork Exercise Book, Class 1, published by the Education Department of South Australia, 1906. Price 2d, 28 x 19 cm high.
Comprising sixteen pages of brush and watercolour exercises begun on 24.8.1910 and completed 12.5.1911 by student Gladys Rieken, each exercise marked in pencil by the teacher. The back cover has five printed illustrations as well as instructions on how to hold a brush and mix the colours; the front cover has an elaborate design incorporating the piping shrike. In small letters bottom left are the designer’s initials H.P.G. (Harry Pelling Gill).
8
HP Gill was an English born and trained artist, a capable art teacher and curator who in 1882 came to South Australia and was appointed master of the Adelaide School of Design and in 1892 appointed honorary curator of the Art Gallery of South Australia.
The name of the school handwritten on the cover of the book tells us that Gladys Rieken attended the Le Fevre Peninsula Primary School (established 1878); the suffix Peninsula was used for the name of the primary school—it was omitted from the name of the high school, gazetted in 1911 as LeFevre High School.

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Gill H P art teacherview full entry

Reference: see SA Australiana Study Group 79th Meeting, 2 June 2022:
Student’s Brushwork Exercise Book, Class 1, published by the Education Department of South Australia, 1906. Price 2d, 28 x 19 cm high.
Comprising sixteen pages of brush and watercolour exercises begun on 24.8.1910 and completed 12.5.1911 by student Gladys Rieken, each exercise marked in pencil by the teacher. The back cover has five printed illustrations as well as instructions on how to hold a brush and mix the colours; the front cover has an elaborate design incorporating the piping shrike. In small letters bottom left are the designer’s initials H.P.G. (Harry Pelling Gill).
8
HP Gill was an English born and trained artist, a capable art teacher and curator who in 1882 came to South Australia and was appointed master of the Adelaide School of Design and in 1892 appointed honorary curator of the Art Gallery of South Australia.
The name of the school handwritten on the cover of the book tells us that Gladys Rieken attended the Le Fevre Peninsula Primary School (established 1878); the suffix Peninsula was used for the name of the primary school—it was omitted from the name of the high school, gazetted in 1911 as LeFevre High School.

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Gill H P art teacher

Reference: see SA Australiana Study Group 79th Meeting, 2 June 2022:
Student’s Brushwork Exercise Book, Class 1, published by the Education Department of South Australia, 1906. Price 2d, 28 x 19 cm high.
Comprising sixteen pages of brush and watercolour exercises begun on 24.8.1910 and completed 12.5.1911 by student Gladys Rieken, each exercise marked in pencil by the teacher. The back cover has five printed illustrations as well as instructions on how to hold a brush and mix the colours; the front cover has an elaborate design incorporating the piping shrike. In small letters bottom left are the designer’s initials H.P.G. (Harry Pelling Gill).
8
HP Gill was an English born and trained artist, a capable art teacher and curator who in 1882 came to South Australia and was appointed master of the Adelaide School of Design and in 1892 appointed honorary curator of the Art Gallery of South Australia.
The name of the school handwritten on the cover of the book tells us that Gladys Rieken attended the Le Fevre Peninsula Primary School (established 1878); the suffix Peninsula was used for the name of the primary school—it was omitted from the name of the high school, gazetted in 1911 as LeFevre High School.

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Mora Mirka 1928-2018view full entry

Reference: see SA Australiana Study Group 79th Meeting, 2 June 2022:
Mirka Madeleine Mora, nee Zelik (1928-2018) “29.6.81 - 2 Heures pm” (1981)
20.00 (h) x 13.00 (w) cm.
Pen and ink on paper
Mirka was born in Paris to a Romanian seamstress mother, and a Lithuanian father who loved antiques, armoury and rare books. Both fled their homelands to escape the persecution of Jewish people in World War One. As a child, Mirka loved learning and thrived at school. During World War Two, she narrowly escaped the holocaust and in 1951, she and her husband Georges arrived in Melbourne. He became an art dealer and together, they operated three significant cafes: the Mirka Café in Exhibition St, Cafe Balzac in East Melbourne and Tolarno in St Kilda.
Mirka Mora’s mosaics, paintings, drawings, textiles and painted dolls became part of the visual landscape in Melbourne over seven decades and are still ever present today in public spaces such as the large mixed media mural at Flinders Street Station. She was part of a close artistic circle at Heide with the Reeds and the Heide Museum has held regular exhibitions of
10
her work. Only a few years ago, she collaborated with fashion designer Lisa Gorman for a range of clothing that has become increasingly valuable.
This pen and ink drawing is of a female being cuddled by a male figure at 2pm in the afternoon on the 29th of June, 1981. It is an example of Mirka Mora’s intimate subjects where we interpret the scene from the perspective of the female figure. An elongated goose neck and head extends from the female which Mirka explained as part of her own sexuality. The male is afforded the patterned clothing, just as in nature a male bird is often more elaborate. Mirka explained to the owner of the drawing that there were two things they should be sure to do in life: 1. Have lots of lovers and 2. Read widely, particularly on subjects in which they were unfamiliar. At the time of the advice, Mirka was reading the work of Stephen Hawking, Lucasian Professor of Mathematics at Cambridge University.In Melbourne, she lived in a number of well-known studios, the last being a purpose built space in Richmond, characteristically crammed with her treasures. She painted her own windows with curvilinear coloured strokes and she typically had two canvasses on the go at once so as not to waste paint.

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Mora Mirka 1928-2018

Reference: see SA Australiana Study Group 79th Meeting, 2 June 2022:
Mirka Madeleine Mora, nee Zelik (1928-2018) “29.6.81 - 2 Heures pm” (1981)
20.00 (h) x 13.00 (w) cm.
Pen and ink on paper
Mirka was born in Paris to a Romanian seamstress mother, and a Lithuanian father who loved antiques, armoury and rare books. Both fled their homelands to escape the persecution of Jewish people in World War One. As a child, Mirka loved learning and thrived at school. During World War Two, she narrowly escaped the holocaust and in 1951, she and her husband Georges arrived in Melbourne. He became an art dealer and together, they operated three significant cafes: the Mirka Café in Exhibition St, Cafe Balzac in East Melbourne and Tolarno in St Kilda.
Mirka Mora’s mosaics, paintings, drawings, textiles and painted dolls became part of the visual landscape in Melbourne over seven decades and are still ever present today in public spaces such as the large mixed media mural at Flinders Street Station. She was part of a close artistic circle at Heide with the Reeds and the Heide Museum has held regular exhibitions of
10
her work. Only a few years ago, she collaborated with fashion designer Lisa Gorman for a range of clothing that has become increasingly valuable.
This pen and ink drawing is of a female being cuddled by a male figure at 2pm in the afternoon on the 29th of June, 1981. It is an example of Mirka Mora’s intimate subjects where we interpret the scene from the perspective of the female figure. An elongated goose neck and head extends from the female which Mirka explained as part of her own sexuality. The male is afforded the patterned clothing, just as in nature a male bird is often more elaborate. Mirka explained to the owner of the drawing that there were two things they should be sure to do in life: 1. Have lots of lovers and 2. Read widely, particularly on subjects in which they were unfamiliar. At the time of the advice, Mirka was reading the work of Stephen Hawking, Lucasian Professor of Mathematics at Cambridge University.In Melbourne, she lived in a number of well-known studios, the last being a purpose built space in Richmond, characteristically crammed with her treasures. She painted her own windows with curvilinear coloured strokes and she typically had two canvasses on the go at once so as not to waste paint.

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Lanceley Colinview full entry

Reference: see ‘Memories of a Dreamer, by John McDonald in Sydney Morning Herald, Spectrum, p11, 2 July, 2022, on Lanceley’s exhibition at the National Art School

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Lanceley Colin

Reference: see ‘Memories of a Dreamer, by John McDonald in Sydney Morning Herald, Spectrum, p11, 2 July, 2022, on Lanceley’s exhibition at the National Art School

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Lanceley Colinview full entry

Reference: Colin Lanceley - Earthly Delights, introduction by Kay Lanceley, essay by Sioux Garside, curator. Includes chronology.
Publishing details: National Art School, 2022, hc, 152pp

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Lanceley Colin

Reference: Colin Lanceley - Earthly Delights, introduction by Kay Lanceley, essay by Sioux Garside, curator. Includes chronology.

Publishing details: National Art School, 2022, hc, 152pp

Location: 0

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White Anthonyview full entry

Reference: As the sleeper wakes - Anthony White, essay by Ashley Crawford. 13 wowks illustrated.
Publishing details: Metro Gallery, Melbourne, pb, 16pp
Ref: 145

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White Anthony

Reference: As the sleeper wakes - Anthony White, essay by Ashley Crawford. 13 wowks illustrated.

Publishing details: Metro Gallery, Melbourne, pb, 16pp

Location: 145

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Bramley-Moore Mostynview full entry

Reference: see Discrepant Subjects, exhibition of works by Mostyn Bramley-Moore, Anthony White and Miles Hall
Publishing details: Pave d’Orsay, 2019 [catalogue details unknown

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Bramley-Moore Mostyn

Reference: see Discrepant Subjects, exhibition of works by Mostyn Bramley-Moore, Anthony White and Miles Hall

Publishing details: Pave d’Orsay, 2019 [catalogue details unknown

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Discrepant Subjectsview full entry

Reference: Discrepant Subjects, exhibition of works by Mostyn Bramley-Moore, Anthony White and Miles Hall
Publishing details: Pave d’Orsay, 2019 [catalogue details unknown
Ref: 1000

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Discrepant Subjects

Reference: Discrepant Subjects, exhibition of works by Mostyn Bramley-Moore, Anthony White and Miles Hall

Publishing details: Pave d’Orsay, 2019 [catalogue details unknown

Location: 1000

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White Anthonyview full entry

Reference: see Discrepant Subjects, exhibition of works by Mostyn Bramley-Moore, Anthony White and Miles Hall
Publishing details: Pave d’Orsay, 2019 [catalogue details unknown

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White Anthony

Reference: see Discrepant Subjects, exhibition of works by Mostyn Bramley-Moore, Anthony White and Miles Hall

Publishing details: Pave d’Orsay, 2019 [catalogue details unknown

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Hall Milesview full entry

Reference: see Discrepant Subjects, exhibition of works by Mostyn Bramley-Moore, Anthony White and Miles Hall
Publishing details: Pave d’Orsay, 2019 [catalogue details unknown

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Hall Miles

Reference: see Discrepant Subjects, exhibition of works by Mostyn Bramley-Moore, Anthony White and Miles Hall

Publishing details: Pave d’Orsay, 2019 [catalogue details unknown

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Young Guns Summer Showview full entry

Reference: Young Guns Summer Show, exhibition at Gallery Maya, Notting Hill London, June 21-26 2011. (Exhibition by COMODAA Contemporary Modern Australian Art), featuring 7 artists. An essay and at least one illustration for each artist.
Publishing details: Gallery Maya, Notting Hill London, 2011, 20pp, pb.
Ref: 145

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Young Guns Summer Show

Reference: Young Guns Summer Show, exhibition at Gallery Maya, Notting Hill London, June 21-26 2011. (Exhibition by COMODAA Contemporary Modern Australian Art), featuring 7 artists. An essay and at least one illustration for each artist.

Publishing details: Gallery Maya, Notting Hill London, 2011, 20pp, pb.

Location: 145

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COMODAAview full entry

Reference: see Young Guns Summer Show, exhibition at Gallery Maya, Notting Hill London, June 21-26 2011. (Exhibition by COMODAA Contemporary Modern Australian Art), featuring 7 artists. An essay and at least one illustration for each artist.
Publishing details: Gallery Maya, Notting Hill London, 2011, 20pp, pb.

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COMODAA

Reference: see Young Guns Summer Show, exhibition at Gallery Maya, Notting Hill London, June 21-26 2011. (Exhibition by COMODAA Contemporary Modern Australian Art), featuring 7 artists. An essay and at least one illustration for each artist.

Publishing details: Gallery Maya, Notting Hill London, 2011, 20pp, pb.

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Contemporary Modern Australian Artview full entry

Reference: see Young Guns Summer Show, exhibition at Gallery Maya, Notting Hill London, June 21-26 2011. (Exhibition by COMODAA Contemporary Modern Australian Art), featuring 7 artists. An essay and at least one illustration for each artist.
Publishing details: Gallery Maya, Notting Hill London, 2011, 20pp, pb.

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Contemporary Modern Australian Art

Reference: see Young Guns Summer Show, exhibition at Gallery Maya, Notting Hill London, June 21-26 2011. (Exhibition by COMODAA Contemporary Modern Australian Art), featuring 7 artists. An essay and at least one illustration for each artist.

Publishing details: Gallery Maya, Notting Hill London, 2011, 20pp, pb.

Location:

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White Anthonyview full entry

Reference: see Young Guns Summer Show, exhibition at Gallery Maya, Notting Hill London, June 21-26 2011. (Exhibition by COMODAA Contemporary Modern Australian Art), featuring 7 artists. An essay and at least one illustration for each artist.
Publishing details: Gallery Maya, Notting Hill London, 2011, 20pp, pb.

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White Anthony

Reference: see Young Guns Summer Show, exhibition at Gallery Maya, Notting Hill London, June 21-26 2011. (Exhibition by COMODAA Contemporary Modern Australian Art), featuring 7 artists. An essay and at least one illustration for each artist.

Publishing details: Gallery Maya, Notting Hill London, 2011, 20pp, pb.

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Fontane Janeview full entry

Reference: see Young Guns Summer Show, exhibition at Gallery Maya, Notting Hill London, June 21-26 2011. (Exhibition by COMODAA Contemporary Modern Australian Art), featuring 7 artists. An essay and at least one illustration for each artist.
Publishing details: Gallery Maya, Notting Hill London, 2011, 20pp, pb.

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Fontane Jane

Reference: see Young Guns Summer Show, exhibition at Gallery Maya, Notting Hill London, June 21-26 2011. (Exhibition by COMODAA Contemporary Modern Australian Art), featuring 7 artists. An essay and at least one illustration for each artist.

Publishing details: Gallery Maya, Notting Hill London, 2011, 20pp, pb.

Location:

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Kitson Juzview full entry

Reference: see Young Guns Summer Show, exhibition at Gallery Maya, Notting Hill London, June 21-26 2011. (Exhibition by COMODAA Contemporary Modern Australian Art), featuring 7 artists. An essay and at least one illustration for each artist.
Publishing details: Gallery Maya, Notting Hill London, 2011, 20pp, pb.

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Kitson Juz

Reference: see Young Guns Summer Show, exhibition at Gallery Maya, Notting Hill London, June 21-26 2011. (Exhibition by COMODAA Contemporary Modern Australian Art), featuring 7 artists. An essay and at least one illustration for each artist.

Publishing details: Gallery Maya, Notting Hill London, 2011, 20pp, pb.

Location:

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MacDonell Zoeview full entry

Reference: see Young Guns Summer Show, exhibition at Gallery Maya, Notting Hill London, June 21-26 2011. (Exhibition by COMODAA Contemporary Modern Australian Art), featuring 7 artists. An essay and at least one illustration for each artist.
Publishing details: Gallery Maya, Notting Hill London, 2011, 20pp, pb.

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MacDonell Zoe

Reference: see Young Guns Summer Show, exhibition at Gallery Maya, Notting Hill London, June 21-26 2011. (Exhibition by COMODAA Contemporary Modern Australian Art), featuring 7 artists. An essay and at least one illustration for each artist.

Publishing details: Gallery Maya, Notting Hill London, 2011, 20pp, pb.

Location:

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Smith Erinview full entry

Reference: see Young Guns Summer Show, exhibition at Gallery Maya, Notting Hill London, June 21-26 2011. (Exhibition by COMODAA Contemporary Modern Australian Art), featuring 7 artists. An essay and at least one illustration for each artist.
Publishing details: Gallery Maya, Notting Hill London, 2011, 20pp, pb.

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Smith Erin

Reference: see Young Guns Summer Show, exhibition at Gallery Maya, Notting Hill London, June 21-26 2011. (Exhibition by COMODAA Contemporary Modern Australian Art), featuring 7 artists. An essay and at least one illustration for each artist.

Publishing details: Gallery Maya, Notting Hill London, 2011, 20pp, pb.

Location:

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Vextaview full entry

Reference: see Young Guns Summer Show, exhibition at Gallery Maya, Notting Hill London, June 21-26 2011. (Exhibition by COMODAA Contemporary Modern Australian Art), featuring 7 artists. An essay and at least one illustration for each artist.
Publishing details: Gallery Maya, Notting Hill London, 2011, 20pp, pb.

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Vexta

Reference: see Young Guns Summer Show, exhibition at Gallery Maya, Notting Hill London, June 21-26 2011. (Exhibition by COMODAA Contemporary Modern Australian Art), featuring 7 artists. An essay and at least one illustration for each artist.

Publishing details: Gallery Maya, Notting Hill London, 2011, 20pp, pb.

Location:

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Meagher Lintonview full entry

Reference: see Young Guns Summer Show, exhibition at Gallery Maya, Notting Hill London, June 21-26 2011. (Exhibition by COMODAA Contemporary Modern Australian Art), featuring 7 artists. An essay and at least one illustration for each artist.
Publishing details: Gallery Maya, Notting Hill London, 2011, 20pp, pb.

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Meagher Linton

Reference: see Young Guns Summer Show, exhibition at Gallery Maya, Notting Hill London, June 21-26 2011. (Exhibition by COMODAA Contemporary Modern Australian Art), featuring 7 artists. An essay and at least one illustration for each artist.

Publishing details: Gallery Maya, Notting Hill London, 2011, 20pp, pb.

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White Anthonyview full entry

Reference: Anthony White - Signs of Civilization, nanda/hobbs gallery catalogue, April, 2018, essay by Robert Maconachie, 4 illustrations.
Publishing details: nanda’hobbs gallery, 2018, 6-page folding card.
Ref: 145

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White Anthony

Reference: Anthony White - Signs of Civilization, nanda/hobbs gallery catalogue, April, 2018, essay by Robert Maconachie, 4 illustrations.

Publishing details: nanda’hobbs gallery, 2018, 6-page folding card.

Location: 145

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Martens Conrad and Beagle scrimshawview full entry

Reference: see Eldred's
August 4, 2022, 9:30 AM EST
East Dennis, MA, US, lot 3031:
IMPORTANT SCRIMSHAW WHALE'S TOOTH ATTRIBUTED TO JAMES ADOLPHUS BUTE, CREW MEMBER ON CHARLES DARWIN'S EXPEDITION
Circa Early 1830s
Believed to be engraved aboard the H.M.S. Beagle during Charles Darwin's second voyage, the 1831-1836 expedition. Obverse depicts "Natives of Tierra del Fuego.", a scene of two figures on a mountainous coastline, one holding a spear and the other paddling a canoe. Signed lower right "J.A. Bute". Reverse depicts a bust portrait of a "New Zealander" with barbed spears and a hatchet. Edge with "Britons United" in a banner below a floral motif. Wide feathery fan-like borders at tip and base.
Dimensions
Length 6.25". Includes a glass and wood case with mirrored base. Case height 5.5". Width 8.75".
Condition Report
Inking faint in some places. Typically uneven base. Slight fracture at tip.

The absence of a condition report does not imply an object is free of defects. All items may have normal signs of age and wear commensurate with their age; these issues will likely not be mentioned in the condition report. Please contact Eldred's before the auction with any condition questions. Questions about condition will not be answered after purchase. Condition reports are provided as a courtesy, and we are not responsible for any errors or omissions. Important note on frames: Frames are not guaranteed to be in the same condition as they are in the item photograph. Due to handling and shipping, many frames, especially antique ones, are prone to losses. If you have questions about the condition of a frame, please contact us prior to the auction. 
Provenance
Notes:
Accompanied by copies of correspondence between William J. Boylhart and Dr. Stuart M. Frank, Senior Curator Emeritus of the New Bedford Whaling Museum and founder of the Scrimshaw Forensics Laboratory, discussing the tooth's authenticity and attribution to Bute, in which Frank writes "I do believe that it's authentic ...".

The signature, lettering and style of workmanship on this tooth are identical to a tooth by James Adolphus Bute that is part of the collection of the Western Australia Museum in Perth and two Bute examples sold at Eldred's, The Marine Sale, July 19, 2018, Lots #76 and #109.

According to the Dictionary of Scrimshaw Artists by Stuart M. Frank (Mystic, Ct.: Mystic Seaport Museum, 1991), p. 24, Englishman James Adolphus Bute was born around 1799 and joined the Royal Navy around 1819. There was great crossover of personnel between whaling and naval service in England, much more so than in the United States, and Bute may have been introduced to scrimshaw during a whaling voyage in between stints on naval vessels. "The Journal of Syms Covington", assistant to Darwin on his second voyage aboard the "Beagle", December 1831-September 1836, lists James Bute as a crew member, one of six crew members listed as a Royal Marine. Given the similarities between images on this and other Bute teeth and drawings by Conrad Martens, the official artist onboard the "Beagle", it is possible Bute was influenced by or collaborated with the artist in creating his pieces of scrimshaw.

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Martens Conrad and Beagle scrimshaw

Reference: see Eldred's
August 4, 2022, 9:30 AM EST
East Dennis, MA, US, lot 3031:
IMPORTANT SCRIMSHAW WHALE'S TOOTH ATTRIBUTED TO JAMES ADOLPHUS BUTE, CREW MEMBER ON CHARLES DARWIN'S EXPEDITION
Circa Early 1830s
Believed to be engraved aboard the H.M.S. Beagle during Charles Darwin's second voyage, the 1831-1836 expedition. Obverse depicts "Natives of Tierra del Fuego.", a scene of two figures on a mountainous coastline, one holding a spear and the other paddling a canoe. Signed lower right "J.A. Bute". Reverse depicts a bust portrait of a "New Zealander" with barbed spears and a hatchet. Edge with "Britons United" in a banner below a floral motif. Wide feathery fan-like borders at tip and base.
Dimensions
Length 6.25". Includes a glass and wood case with mirrored base. Case height 5.5". Width 8.75".
Condition Report
Inking faint in some places. Typically uneven base. Slight fracture at tip.

The absence of a condition report does not imply an object is free of defects. All items may have normal signs of age and wear commensurate with their age; these issues will likely not be mentioned in the condition report. Please contact Eldred's before the auction with any condition questions. Questions about condition will not be answered after purchase. Condition reports are provided as a courtesy, and we are not responsible for any errors or omissions. Important note on frames: Frames are not guaranteed to be in the same condition as they are in the item photograph. Due to handling and shipping, many frames, especially antique ones, are prone to losses. If you have questions about the condition of a frame, please contact us prior to the auction. 
Provenance
Notes:
Accompanied by copies of correspondence between William J. Boylhart and Dr. Stuart M. Frank, Senior Curator Emeritus of the New Bedford Whaling Museum and founder of the Scrimshaw Forensics Laboratory, discussing the tooth's authenticity and attribution to Bute, in which Frank writes "I do believe that it's authentic ...".

The signature, lettering and style of workmanship on this tooth are identical to a tooth by James Adolphus Bute that is part of the collection of the Western Australia Museum in Perth and two Bute examples sold at Eldred's, The Marine Sale, July 19, 2018, Lots #76 and #109.

According to the Dictionary of Scrimshaw Artists by Stuart M. Frank (Mystic, Ct.: Mystic Seaport Museum, 1991), p. 24, Englishman James Adolphus Bute was born around 1799 and joined the Royal Navy around 1819. There was great crossover of personnel between whaling and naval service in England, much more so than in the United States, and Bute may have been introduced to scrimshaw during a whaling voyage in between stints on naval vessels. "The Journal of Syms Covington", assistant to Darwin on his second voyage aboard the "Beagle", December 1831-September 1836, lists James Bute as a crew member, one of six crew members listed as a Royal Marine. Given the similarities between images on this and other Bute teeth and drawings by Conrad Martens, the official artist onboard the "Beagle", it is possible Bute was influenced by or collaborated with the artist in creating his pieces of scrimshaw.

Publishing details:

Location:

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Bute James Adolphus scrimshawview full entry

Reference: see Eldred's
August 4, 2022, 9:30 AM EST
East Dennis, MA, US, lot 3031:
IMPORTANT SCRIMSHAW WHALE'S TOOTH ATTRIBUTED TO JAMES ADOLPHUS BUTE, CREW MEMBER ON CHARLES DARWIN'S EXPEDITION
Circa Early 1830s
Believed to be engraved aboard the H.M.S. Beagle during Charles Darwin's second voyage, the 1831-1836 expedition. Obverse depicts "Natives of Tierra del Fuego.", a scene of two figures on a mountainous coastline, one holding a spear and the other paddling a canoe. Signed lower right "J.A. Bute". Reverse depicts a bust portrait of a "New Zealander" with barbed spears and a hatchet. Edge with "Britons United" in a banner below a floral motif. Wide feathery fan-like borders at tip and base.
Dimensions
Length 6.25". Includes a glass and wood case with mirrored base. Case height 5.5". Width 8.75".
Condition Report
Inking faint in some places. Typically uneven base. Slight fracture at tip.

The absence of a condition report does not imply an object is free of defects. All items may have normal signs of age and wear commensurate with their age; these issues will likely not be mentioned in the condition report. Please contact Eldred's before the auction with any condition questions. Questions about condition will not be answered after purchase. Condition reports are provided as a courtesy, and we are not responsible for any errors or omissions. Important note on frames: Frames are not guaranteed to be in the same condition as they are in the item photograph. Due to handling and shipping, many frames, especially antique ones, are prone to losses. If you have questions about the condition of a frame, please contact us prior to the auction. 
Provenance
Notes:
Accompanied by copies of correspondence between William J. Boylhart and Dr. Stuart M. Frank, Senior Curator Emeritus of the New Bedford Whaling Museum and founder of the Scrimshaw Forensics Laboratory, discussing the tooth's authenticity and attribution to Bute, in which Frank writes "I do believe that it's authentic ...".

The signature, lettering and style of workmanship on this tooth are identical to a tooth by James Adolphus Bute that is part of the collection of the Western Australia Museum in Perth and two Bute examples sold at Eldred's, The Marine Sale, July 19, 2018, Lots #76 and #109.

According to the Dictionary of Scrimshaw Artists by Stuart M. Frank (Mystic, Ct.: Mystic Seaport Museum, 1991), p. 24, Englishman James Adolphus Bute was born around 1799 and joined the Royal Navy around 1819. There was great crossover of personnel between whaling and naval service in England, much more so than in the United States, and Bute may have been introduced to scrimshaw during a whaling voyage in between stints on naval vessels. "The Journal of Syms Covington", assistant to Darwin on his second voyage aboard the "Beagle", December 1831-September 1836, lists James Bute as a crew member, one of six crew members listed as a Royal Marine. Given the similarities between images on this and other Bute teeth and drawings by Conrad Martens, the official artist onboard the "Beagle", it is possible Bute was influenced by or collaborated with the artist in creating his pieces of scrimshaw.

×

Bute James Adolphus scrimshaw

Reference: see Eldred's
August 4, 2022, 9:30 AM EST
East Dennis, MA, US, lot 3031:
IMPORTANT SCRIMSHAW WHALE'S TOOTH ATTRIBUTED TO JAMES ADOLPHUS BUTE, CREW MEMBER ON CHARLES DARWIN'S EXPEDITION
Circa Early 1830s
Believed to be engraved aboard the H.M.S. Beagle during Charles Darwin's second voyage, the 1831-1836 expedition. Obverse depicts "Natives of Tierra del Fuego.", a scene of two figures on a mountainous coastline, one holding a spear and the other paddling a canoe. Signed lower right "J.A. Bute". Reverse depicts a bust portrait of a "New Zealander" with barbed spears and a hatchet. Edge with "Britons United" in a banner below a floral motif. Wide feathery fan-like borders at tip and base.
Dimensions
Length 6.25". Includes a glass and wood case with mirrored base. Case height 5.5". Width 8.75".
Condition Report
Inking faint in some places. Typically uneven base. Slight fracture at tip.

The absence of a condition report does not imply an object is free of defects. All items may have normal signs of age and wear commensurate with their age; these issues will likely not be mentioned in the condition report. Please contact Eldred's before the auction with any condition questions. Questions about condition will not be answered after purchase. Condition reports are provided as a courtesy, and we are not responsible for any errors or omissions. Important note on frames: Frames are not guaranteed to be in the same condition as they are in the item photograph. Due to handling and shipping, many frames, especially antique ones, are prone to losses. If you have questions about the condition of a frame, please contact us prior to the auction. 
Provenance
Notes:
Accompanied by copies of correspondence between William J. Boylhart and Dr. Stuart M. Frank, Senior Curator Emeritus of the New Bedford Whaling Museum and founder of the Scrimshaw Forensics Laboratory, discussing the tooth's authenticity and attribution to Bute, in which Frank writes "I do believe that it's authentic ...".

The signature, lettering and style of workmanship on this tooth are identical to a tooth by James Adolphus Bute that is part of the collection of the Western Australia Museum in Perth and two Bute examples sold at Eldred's, The Marine Sale, July 19, 2018, Lots #76 and #109.

According to the Dictionary of Scrimshaw Artists by Stuart M. Frank (Mystic, Ct.: Mystic Seaport Museum, 1991), p. 24, Englishman James Adolphus Bute was born around 1799 and joined the Royal Navy around 1819. There was great crossover of personnel between whaling and naval service in England, much more so than in the United States, and Bute may have been introduced to scrimshaw during a whaling voyage in between stints on naval vessels. "The Journal of Syms Covington", assistant to Darwin on his second voyage aboard the "Beagle", December 1831-September 1836, lists James Bute as a crew member, one of six crew members listed as a Royal Marine. Given the similarities between images on this and other Bute teeth and drawings by Conrad Martens, the official artist onboard the "Beagle", it is possible Bute was influenced by or collaborated with the artist in creating his pieces of scrimshaw.

Publishing details:

Location:

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Martens Conradview full entry

Reference: see Conrad Martens & the Picturesque: Precursor to Australian Impressionism
Michael Organ 1 July 1993. ‘When Conrad Martens arrived in Sydney Harbour in 1835 aboard the Black Warrior from Tahiti via New Zealand, he brought with him the experiences of a professional landscape painter who had spent the previous two years travelling to South America and the Pacific as a member of the crew of the HMS Hyacinth and HMS Beagle, following on a decade of painting in his native England..
Publishing details: 1993
https://www.academia.edu/2799058/Conrad_Martens_and_the_Picturesque_Precursor_to_Australian_Impressionism

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Martens Conrad

Reference: see Conrad Martens & the Picturesque: Precursor to Australian Impressionism
Michael Organ 1 July 1993. ‘When Conrad Martens arrived in Sydney Harbour in 1835 aboard the Black Warrior from Tahiti via New Zealand, he brought with him the experiences of a professional landscape painter who had spent the previous two years travelling to South America and the Pacific as a member of the crew of the HMS Hyacinth and HMS Beagle, following on a decade of painting in his native England..

Publishing details: 1993
https://www.academia.edu/2799058/Conrad_Martens_and_the_Picturesque_Precursor_to_Australian_Impressionism

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Yandell Christianview full entry

Reference: see Christian Yandell's illustrations for Alice in Wonderland 1924, by Michael Organ

‘In 1924 New Zealand publishing house Whitcombe & Tombs, based in Auckland, issued an edition of Lewis Carroll's Alice in Wonderland for the Australasian education market. This small, 64 page primary school reader was edited by EA Stewart and featured an original cover design by the Carlton Studio of Melbourne plus twelve black and white engraved line drawings by Australian artist Christian Yandell (1894-1954).’
Publishing details: https://www.academia.edu/2799067/Christian_Yandells_illustrations_for_Alice_in_Wonderland_1924

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Yandell Christian

Reference: see Christian Yandell's illustrations for Alice in Wonderland 1924, by Michael Organ

‘In 1924 New Zealand publishing house Whitcombe & Tombs, based in Auckland, issued an edition of Lewis Carroll's Alice in Wonderland for the Australasian education market. This small, 64 page primary school reader was edited by EA Stewart and featured an original cover design by the Carlton Studio of Melbourne plus twelve black and white engraved line drawings by Australian artist Christian Yandell (1894-1954).’

Publishing details: https://www.academia.edu/2799067/Christian_Yandells_illustrations_for_Alice_in_Wonderland_1924

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Wallace Anneview full entry

Reference: Anne Wallace: Strange Ways, Curated by
Vanessa Van Ooyen. Samstag Museum of Art, 2020. [’On the surface, Anne Wallace's figurative paintings might seem conventional, however they are anything but ordinary. Her meticulously painted canvases satisfy our visual habits and conform to our expectations of paintings, leading us to expect a narrative; however, on a deeper level, they conspire to deny us the satisfaction. They exude a strangeness derived from her unusual use of perspectives, the superimposing of images, and the borrowing of disparate sources.
Wallace's paintings are at times difficult to look at. She combines the familiar with the unfamiliar, capturing a tension between the real and the imagined to create slightly awkward moments. Like any good 'story', there is sexual and social confusion, vulnerability and violence, alienation and loneliness, feelings of the abject, or fantasies of power and revenge. Wallace's paintings have an uncanny ability to tap into a shared psyche, drawing upon the language of pop culture.
Bringing together more than 80 works from public and private collections, and spanning three decades, this is the most comprehensive survey of Wallace's practice to date. The exhibition will include a screening program of films selected by the artist, and is accompanied by a major publication, featuring new essays by Gillian Brown, Francis Plagne and Vanessa Van Ooyen.’]

Publishing details: Samstag Museum of Art, 2020.

Ref: 1000

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Wallace Anne

Reference: Anne Wallace: Strange Ways, Curated by
Vanessa Van Ooyen. Samstag Museum of Art, 2020. [’On the surface, Anne Wallace's figurative paintings might seem conventional, however they are anything but ordinary. Her meticulously painted canvases satisfy our visual habits and conform to our expectations of paintings, leading us to expect a narrative; however, on a deeper level, they conspire to deny us the satisfaction. They exude a strangeness derived from her unusual use of perspectives, the superimposing of images, and the borrowing of disparate sources.
Wallace's paintings are at times difficult to look at. She combines the familiar with the unfamiliar, capturing a tension between the real and the imagined to create slightly awkward moments. Like any good 'story', there is sexual and social confusion, vulnerability and violence, alienation and loneliness, feelings of the abject, or fantasies of power and revenge. Wallace's paintings have an uncanny ability to tap into a shared psyche, drawing upon the language of pop culture.
Bringing together more than 80 works from public and private collections, and spanning three decades, this is the most comprehensive survey of Wallace's practice to date. The exhibition will include a screening program of films selected by the artist, and is accompanied by a major publication, featuring new essays by Gillian Brown, Francis Plagne and Vanessa Van Ooyen.’]

Publishing details: Samstag Museum of Art, 2020.

Location: 1000

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Binns Vivienne view full entry

Reference: On and through the surface - Vivienne Binns. Publication coincides with exhibition at MUMA, Melbourne, until April 14, 2022, then the Museum of Contemporary Art, Sydney, from July 15 to September 25, 2022.
Vivienne Binns is an important and singular figure in the history of Australian visual art. Her groundbreaking and experimental work has tested the philosophical underpinnings of art itself, both preempting and participating in the most significant cultural discourses of our times: from women's social and sexual liberation to Australia's regional identity.
Her outstanding, multifaceted and sustained contribution to Australian art was recognized in 2021 with an Australia Council Award for Visual Arts.
Vivienne Binns: On and Through the Surface is the first monograph on the artist's six-decade career and accompanies a major survey presented at Monash University Museum of Art, Melbourne, and Museum of Contemporary Art Australia, Sydney, in 2022.
Edited by Anneke Jaspers and Hannah Mathews, the publication charts the dynamism of Binns's conceptual and material investigations with an extensive, full-colour plate section; new essays by writers and art historians Terence Maloon, Kyla McFarlane, Gemma Weston, Quentin Sprague and Helen Hughes; a 2021 interview by Merryn Gates; a detailed chronology by Penny Peckham; and historic interviews and texts with and by the artist. Design by Stuart Geddes and Ziga Testen.
Publishing details: Monash University Museum of Art, softback, 280 pages
Ref: 1009

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Binns Vivienne

Reference: On and through the surface - Vivienne Binns. Publication coincides with exhibition at MUMA, Melbourne, until April 14, 2022, then the Museum of Contemporary Art, Sydney, from July 15 to September 25, 2022.
Vivienne Binns is an important and singular figure in the history of Australian visual art. Her groundbreaking and experimental work has tested the philosophical underpinnings of art itself, both preempting and participating in the most significant cultural discourses of our times: from women's social and sexual liberation to Australia's regional identity.
Her outstanding, multifaceted and sustained contribution to Australian art was recognized in 2021 with an Australia Council Award for Visual Arts.
Vivienne Binns: On and Through the Surface is the first monograph on the artist's six-decade career and accompanies a major survey presented at Monash University Museum of Art, Melbourne, and Museum of Contemporary Art Australia, Sydney, in 2022.
Edited by Anneke Jaspers and Hannah Mathews, the publication charts the dynamism of Binns's conceptual and material investigations with an extensive, full-colour plate section; new essays by writers and art historians Terence Maloon, Kyla McFarlane, Gemma Weston, Quentin Sprague and Helen Hughes; a 2021 interview by Merryn Gates; a detailed chronology by Penny Peckham; and historic interviews and texts with and by the artist. Design by Stuart Geddes and Ziga Testen.

Publishing details: Monash University Museum of Art, softback, 280 pages

Location: 1009

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Binns Vivienneview full entry

Reference: see Sydney Morning Herald article by Anfrew Stephens on Vivienne Binns’ exhibition at MCA - On and through the surface - Vivienne Binns
Publishing details: SMH Spectrum, 9.7.22 p7

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Binns Vivienne

Reference: see Sydney Morning Herald article by Anfrew Stephens on Vivienne Binns’ exhibition at MCA - On and through the surface - Vivienne Binns

Publishing details: SMH Spectrum, 9.7.22 p7

Location:

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Ricard-Cordingly Georgesview full entry

Reference: see Pichon & Noudel-Deniau (Azur Enchères) auction, Wednesday 20 July 2022, Cannes, France, lot 174
Georges RICARD-CORDINGLEY (1873-1939)
Travel notebook
Studies and sketches
BLACK PEN
Titled and dated by his daughter "The trip to Australia on the Warpara - 1909
18,5 x 11,5 cm
Provenance: Estate of the painter's daughter, Gabrielle Ricard-Cordingley
and lot 203
Georges RICARD-CORDINGLEY (1873-1939)
Large notebook of drawings
Studies and sketches
BLACK PENCIL AND HIGHLIGHTS
Entitled "Towards Australia" by his daughter
30,5 x 24 cm
Provenance: Estate of the painter's daughter, Gabrielle Ricard-Cordingley

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Ricard-Cordingly Georges

Reference: see Pichon & Noudel-Deniau (Azur Enchères) auction, Wednesday 20 July 2022, Cannes, France, lot 174
Georges RICARD-CORDINGLEY (1873-1939)
Travel notebook
Studies and sketches
BLACK PEN
Titled and dated by his daughter "The trip to Australia on the Warpara - 1909
18,5 x 11,5 cm
Provenance: Estate of the painter's daughter, Gabrielle Ricard-Cordingley
and lot 203
Georges RICARD-CORDINGLEY (1873-1939)
Large notebook of drawings
Studies and sketches
BLACK PENCIL AND HIGHLIGHTS
Entitled "Towards Australia" by his daughter
30,5 x 24 cm
Provenance: Estate of the painter's daughter, Gabrielle Ricard-Cordingley

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Quilty Benview full entry

Reference: Free Fall. A stunning art book of Quilty's most recent collection of paintings from his series 'Free Fall'. 'This series, titled "Free Fall", was heavily influenced by American realist George Bellows' early 20th-century boxing series. Where Bellows looked to boxing, the premier bloodsport of his age, Quilty has turned to the modern phenomenon of the Ultimate Fighting Championships (UFC). Looking back on Quilty's work in recent years, his ongoing exploration of heavily abstracted, tortured anatomies, perhaps it was inevitable these figures, or their kin, would end up in a fighting pit, aka the 'UFC Octagon'. Crucially, while studying Bellows, Quilty revisited the iconic images taken by photojournalist (and cousin) Andrew Quilty of the 2005 Cronulla riots. Here, the beach and the Octagon are corresponding zones, symbolically potent places steeped in friction, violence and ritual.' -- from the Foreword by Milena Stojanovska.
Publishing details: Lantern and Art Ink, 2022 , hc, 112 pages : colour illustrationsLantern and Art Ink, 2022 
©2022 
112 pages : colour illustrations
Ref: 1000

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Quilty Ben

Reference: Free Fall. A stunning art book of Quilty's most recent collection of paintings from his series 'Free Fall'. 'This series, titled "Free Fall", was heavily influenced by American realist George Bellows' early 20th-century boxing series. Where Bellows looked to boxing, the premier bloodsport of his age, Quilty has turned to the modern phenomenon of the Ultimate Fighting Championships (UFC). Looking back on Quilty's work in recent years, his ongoing exploration of heavily abstracted, tortured anatomies, perhaps it was inevitable these figures, or their kin, would end up in a fighting pit, aka the 'UFC Octagon'. Crucially, while studying Bellows, Quilty revisited the iconic images taken by photojournalist (and cousin) Andrew Quilty of the 2005 Cronulla riots. Here, the beach and the Octagon are corresponding zones, symbolically potent places steeped in friction, violence and ritual.' -- from the Foreword by Milena Stojanovska.

Publishing details: Lantern and Art Ink, 2022 , hc, 112 pages : colour illustrationsLantern and Art Ink, 2022 
©2022 
112 pages : colour illustrations

Location: 1000

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Pike Jimmyview full entry

Reference: Ngirramanujuwal : the art and country of Jimmy Pike.
Ngirramanujuwal is one who adds colour. Walmajarri man Jimmy Pike (c. 1940–2002) manifests colour as strokes of ink on paper: the saturated hues of the desert sky at dusk, and the glimmers of the sun on the water’s surface. His vivid and exceptional drawing, painting and printing skills reveal the desert as a place teeming with colourful life, history and stories. Ngirramanujuwal: The Art and Country of Jimmy Pike is a specially curated selection of the internationally renowned artist’s work from the Australian Institute of Aboriginal and Torres Strait Islander Studies collection. It invites the reader to journey through the Great Sandy Desert, experiencing the Walmajarri seasons – makurra, parranga, yitilal and jutalkarra – as revealed through Pike’s art and intimate relationship with Country. (from back cover).
Full contents • Kurntikujarra Jimmy Pike
• Makurra
• Parranga
• Yitilal
• Jutalkarra.
Contains selected Walmajarri and Juwaliny wordlist.
Bibliography: pages 125-126.
Publishing details: Canberra, ACT : Aboriginal studies Press, 2022,
127 pages : colour illustrations, map, portraits
Ref: 1000

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Pike Jimmy

Reference: Ngirramanujuwal : the art and country of Jimmy Pike.
Ngirramanujuwal is one who adds colour. Walmajarri man Jimmy Pike (c. 1940–2002) manifests colour as strokes of ink on paper: the saturated hues of the desert sky at dusk, and the glimmers of the sun on the water’s surface. His vivid and exceptional drawing, painting and printing skills reveal the desert as a place teeming with colourful life, history and stories. Ngirramanujuwal: The Art and Country of Jimmy Pike is a specially curated selection of the internationally renowned artist’s work from the Australian Institute of Aboriginal and Torres Strait Islander Studies collection. It invites the reader to journey through the Great Sandy Desert, experiencing the Walmajarri seasons – makurra, parranga, yitilal and jutalkarra – as revealed through Pike’s art and intimate relationship with Country. (from back cover).
Full contents • Kurntikujarra Jimmy Pike
• Makurra
• Parranga
• Yitilal
• Jutalkarra.
Contains selected Walmajarri and Juwaliny wordlist.
Bibliography: pages 125-126.

Publishing details: Canberra, ACT : Aboriginal studies Press, 2022,
127 pages : colour illustrations, map, portraits

Location: 1000

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Queerview full entry

Reference: Queer : stories from the NGV collection / edited by Ted Gott, Angela Hesson, Myles Russell-Cook, Meg Slater, and Pip Wallis with contributors. [To be indexed]
QUEER: Stories from the NGV Collection is more than an exhibition catalogue. This 628-page publication expands on the themes explored in the NGV’s QUEER exhibition to document the queer past, present and future of the NGV collection. More than 60 essays from authors with comprehensive knowledge of the historical and contemporary subjects encompassed by the NGV’s QUEER project are presented along side stunning reproductions of more than 200 works from the NGV collection, either by queer artists or engaging with queer issues. The essays in QUEER: Stories from the NGV Collection explore the history of LGBTQ+ activism; the creation of queer spaces and communities; queerness as an artistic strategy; the expression of love, desire and sensuality; queer aesthetics; and the concepts of camp and the fantastic.
Notes Includes bibliographical references.
Publishing details: Melbourne, Victoria : National Gallery of Victoria, 2021,
xxvii, 598 pages : colour illustrations
Ref: 1000

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Queer

Reference: Queer : stories from the NGV collection / edited by Ted Gott, Angela Hesson, Myles Russell-Cook, Meg Slater, and Pip Wallis with contributors. [To be indexed]
QUEER: Stories from the NGV Collection is more than an exhibition catalogue. This 628-page publication expands on the themes explored in the NGV’s QUEER exhibition to document the queer past, present and future of the NGV collection. More than 60 essays from authors with comprehensive knowledge of the historical and contemporary subjects encompassed by the NGV’s QUEER project are presented along side stunning reproductions of more than 200 works from the NGV collection, either by queer artists or engaging with queer issues. The essays in QUEER: Stories from the NGV Collection explore the history of LGBTQ+ activism; the creation of queer spaces and communities; queerness as an artistic strategy; the expression of love, desire and sensuality; queer aesthetics; and the concepts of camp and the fantastic.
Notes Includes bibliographical references.

Publishing details: Melbourne, Victoria : National Gallery of Victoria, 2021,
xxvii, 598 pages : colour illustrations

Location: 1000

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Balgo : creating country view full entry

Reference: Balgo : creating country / John Carty
In the early days we did painting. Cultural way. For ourselves. Then on the mission Sister Alice was working with the young men and women, like Gracie Green and Matthew Gill. We did a lot of landscapes at the start. Then after that people did a lot of paintings for the church. Then we decided we gotta do our own painting now. About ngurra and tjukurrpa. Ngurra are the places we came from, our Country. We came to the mission from Kiwirrkurra, from Canning Stock Route, from Mulan lake Country. All the different families. All now to this Country we call Balgo. And we have always enjoyed our culture. We never stopped. Always dancing and singing, teaching our kids and keeping our culture strong. Here in Balgo. We keep our ceremonies, we visit our Country. That's why we still live here. That's why we paint. That story from our Tjamu and Tjatja (grandfather and grandmother). Our rockholes and waters where we used to live. We paint that. This monograph features countless images of full colour artworks from communities including Birrundudu, Papunya, Yuendumu and Balgo and language groups including Kukatja, Djaru, Warlpiri, Nyining, Ngarti, Wangkajunga and Manjilyjarra. It is deeply grounded in country has been put together in conjunction with the Warlayirti Arts Centre.
Notes This book was supported in its creation and production by the Australia Council for the Arts.
Includes bibliographical references (pages 387-391)
Publishing details: Crawley, Western Australia : UWA Publishing, 2021  
vii, 395 pages : colour illustrtions
Ref: 1000

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Balgo : creating country

Reference: Balgo : creating country / John Carty
In the early days we did painting. Cultural way. For ourselves. Then on the mission Sister Alice was working with the young men and women, like Gracie Green and Matthew Gill. We did a lot of landscapes at the start. Then after that people did a lot of paintings for the church. Then we decided we gotta do our own painting now. About ngurra and tjukurrpa. Ngurra are the places we came from, our Country. We came to the mission from Kiwirrkurra, from Canning Stock Route, from Mulan lake Country. All the different families. All now to this Country we call Balgo. And we have always enjoyed our culture. We never stopped. Always dancing and singing, teaching our kids and keeping our culture strong. Here in Balgo. We keep our ceremonies, we visit our Country. That's why we still live here. That's why we paint. That story from our Tjamu and Tjatja (grandfather and grandmother). Our rockholes and waters where we used to live. We paint that. This monograph features countless images of full colour artworks from communities including Birrundudu, Papunya, Yuendumu and Balgo and language groups including Kukatja, Djaru, Warlpiri, Nyining, Ngarti, Wangkajunga and Manjilyjarra. It is deeply grounded in country has been put together in conjunction with the Warlayirti Arts Centre.
Notes This book was supported in its creation and production by the Australia Council for the Arts.
Includes bibliographical references (pages 387-391)

Publishing details: Crawley, Western Australia : UWA Publishing, 2021  
vii, 395 pages : colour illustrtions

Location: 1000

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Justin Miller Art,view full entry

Reference: Justin Miller Art, - Autumn Winter exhibition 2022
Publishing details: Justin Miller Art, 2022, pb 58 pp,with price list inserted
Ref: 133

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Justin Miller Art,

Reference: Justin Miller Art, - Autumn Winter exhibition 2022

Publishing details: Justin Miller Art, 2022, pb 58 pp,with price list inserted

Location: 133

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Gabori Sallyview full entry

Reference: see ‘The Art of the Steal’ article by Gabriella Coslovich in Spectrum, Sydney Morning Herald, 16.7.22, p12-16
Publishing details: [copy in The Corrigan Collection of Paintings by Sally Gabori]

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Gabori Sally

Reference: see ‘The Art of the Steal’ article by Gabriella Coslovich in Spectrum, Sydney Morning Herald, 16.7.22, p12-16

Publishing details: [copy in The Corrigan Collection of Paintings by Sally Gabori]

Location:

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Hobson Naomiview full entry

Reference: see Geelong Art Gallery press release, 15.7.22: ‘Congratulations to the recipient of our 2022 Geelong Contemporary Art Prize, Naomi Hobson. Naomi is a  Kaantju/Umpila woman and lives and works on the traditional lands of the Southern Kaantju people in Coen, Queensland.
The selection panel included Lisa Byrne, Director, McClelland Sculpture Park+Gallery, Kyla McFarlane, Senior Academic Programs Curator, Museums & Collections, The University of Melbourne, and Lisa Sullivan, Senior Curator, Geelong Gallery, who were drawn to the energy and structural complexity of Hobson’s interpretation of the natural world.  

Sand dunes on the coast is representative of the artist’s distinctive style: her vibrant multi-layered compositions emerge from and convey a deep ancestral connection to the traditional lands of the Kaantju/Umpila people.
Come and visit the Prize open until Sunday 11 September and have your chance to vote in the People's Choice Award. 

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Hobson Naomi

Reference: see Geelong Art Gallery press release, 15.7.22: ‘Congratulations to the recipient of our 2022 Geelong Contemporary Art Prize, Naomi Hobson. Naomi is a  Kaantju/Umpila woman and lives and works on the traditional lands of the Southern Kaantju people in Coen, Queensland.
The selection panel included Lisa Byrne, Director, McClelland Sculpture Park+Gallery, Kyla McFarlane, Senior Academic Programs Curator, Museums & Collections, The University of Melbourne, and Lisa Sullivan, Senior Curator, Geelong Gallery, who were drawn to the energy and structural complexity of Hobson’s interpretation of the natural world.  

Sand dunes on the coast is representative of the artist’s distinctive style: her vibrant multi-layered compositions emerge from and convey a deep ancestral connection to the traditional lands of the Kaantju/Umpila people.
Come and visit the Prize open until Sunday 11 September and have your chance to vote in the People's Choice Award. 

Publishing details:

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Rielly Henryview full entry

Reference: see Lauraine Diggins Fine Art press release, 15,7.22:
Lauraine Diggins Fine Art continues our ongoing series taking a closer look at a variety of artworks available to view at the Gallery. In the Spotlight today, a painting by colonial artist Henry Rielly. 

Henry Rielly arrived in Australia with his family as a child. He was a foundation member of the Victorian Academy of Arts in 1870 and exhibited with them between 1870 – 1895. His work was also included in the Melbourne Exhibition Building in 1872, an exhibition which toured to London the following year; the Sydney International Exhibition in 1879; and the Calcutta Exhibition in 1883-84. He later moved to Queensland, in 1885, probably to be closer to his sisters, Louisa and Isa (who were  both also artists) and exhibited with the Queensland Art Society between 1892 – 1902. The move may also have been prompted to seek a warmer climate following tuberculosis. Rielly died in Brisbane Hospital, aged only 47.

Rielly is known to have exhibited watercolours and oils depicting landscapes, around Melbourne, north-east Victoria and later Stanthorpe, Qld. His work has been compared with other nineteenth century artists including Buvelot, H.J. Johnstone and J.W. Curtis and described as being expressive, intimate and at times, having an air of melancholy. 

His work is represented in the National Gallery of Victoria (Bush Scene Near Ballan 1877) and the Queensland Art Gallery (including Ghost Gully evening 1894) .


HENRY RIELLY 1845 – 1905
Shooting Near Heidelberg  1875
oil on canvas
53 x 82 cm
signed lower right: Henry Rielly
 
Provenance:
unknown
Leonard Joel, Melbourne, Nov 1985
private collection, Melbourne
Lauraine Diggins Fine Art, Melbourne, 1988
private collection, Melbourne
 
Exhibited:
19th and 20th Century Australian Painting, Sculpture and Decorative Arts 1998, Lauraine Diggins Fine Art, Melbourne, 1998

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Rielly Henry

Reference: see Lauraine Diggins Fine Art press release, 15,7.22:
Lauraine Diggins Fine Art continues our ongoing series taking a closer look at a variety of artworks available to view at the Gallery. In the Spotlight today, a painting by colonial artist Henry Rielly. 

Henry Rielly arrived in Australia with his family as a child. He was a foundation member of the Victorian Academy of Arts in 1870 and exhibited with them between 1870 – 1895. His work was also included in the Melbourne Exhibition Building in 1872, an exhibition which toured to London the following year; the Sydney International Exhibition in 1879; and the Calcutta Exhibition in 1883-84. He later moved to Queensland, in 1885, probably to be closer to his sisters, Louisa and Isa (who were  both also artists) and exhibited with the Queensland Art Society between 1892 – 1902. The move may also have been prompted to seek a warmer climate following tuberculosis. Rielly died in Brisbane Hospital, aged only 47.

Rielly is known to have exhibited watercolours and oils depicting landscapes, around Melbourne, north-east Victoria and later Stanthorpe, Qld. His work has been compared with other nineteenth century artists including Buvelot, H.J. Johnstone and J.W. Curtis and described as being expressive, intimate and at times, having an air of melancholy. 

His work is represented in the National Gallery of Victoria (Bush Scene Near Ballan 1877) and the Queensland Art Gallery (including Ghost Gully evening 1894) .


HENRY RIELLY 1845 – 1905
Shooting Near Heidelberg  1875
oil on canvas
53 x 82 cm
signed lower right: Henry Rielly
 
Provenance:
unknown
Leonard Joel, Melbourne, Nov 1985
private collection, Melbourne
Lauraine Diggins Fine Art, Melbourne, 1988
private collection, Melbourne
 
Exhibited:
19th and 20th Century Australian Painting, Sculpture and Decorative Arts 1998, Lauraine Diggins Fine Art, Melbourne, 1998

Publishing details:

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Brown Eileen illustratorview full entry

Reference: Flying South. llustrated by Aileen Brown.
‘This fable, written by Loretta Re, tells of the search by two pelicans WIlli and Millimurro for a new home. Their flight from Central Australia to the South Coast and the impact of their arrival on the local wildlife is poignantly told in word and image.’ – from the prospectus.


Publishing details: Port Kembla, N.S.W. : Southern Typothetae, 1987. Folio, binding by Tony Anderson in pure cotton duck with covers decorated and pink endpapers screen printed by Aileen Brown, pp. [24], with ten hand-printed and stencilled linocuts by Aileen Brown, each signed by the artist. Limited to 45 signed and numbered copies. Enclosed is a hand-printed bookmark and prospectus.
Ref: 1000

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Brown Eileen illustrator

Reference: Flying South. llustrated by Aileen Brown.
‘This fable, written by Loretta Re, tells of the search by two pelicans WIlli and Millimurro for a new home. Their flight from Central Australia to the South Coast and the impact of their arrival on the local wildlife is poignantly told in word and image.’ – from the prospectus.

Publishing details: Port Kembla, N.S.W. : Southern Typothetae, 1987. Folio, binding by Tony Anderson in pure cotton duck with covers decorated and pink endpapers screen printed by Aileen Brown, pp. [24], with ten hand-printed and stencilled linocuts by Aileen Brown, each signed by the artist. Limited to 45 signed and numbered copies. Enclosed is a hand-printed bookmark and prospectus.

Location: 1000

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Books and Boatsview full entry

Reference: Exhibition of books and boats . Jay Arthur, Alexander Hamilton, Petr Herel, Paul Uhlmann, an introductory essay by Alex Selentisch, biographies and checklist of works, for folded sheets, each pp. 6, on each of the artists, illustrated. Fine copy. Layout and design by Paul Uhlmann (Trembling Hand Books) and Jay Arthur, Canberra.
A finely printed book exhibition catalogue.


Publishing details: Melbourne : State Library of Victoria, 1991. Octavo, printed card folio containing loose sheets.
Ref: 1000

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Books and Boats

Reference: Exhibition of books and boats . Jay Arthur, Alexander Hamilton, Petr Herel, Paul Uhlmann, an introductory essay by Alex Selentisch, biographies and checklist of works, for folded sheets, each pp. 6, on each of the artists, illustrated. Fine copy. Layout and design by Paul Uhlmann (Trembling Hand Books) and Jay Arthur, Canberra.
A finely printed book exhibition catalogue.

Publishing details: Melbourne : State Library of Victoria, 1991. Octavo, printed card folio containing loose sheets.

Location: 1000

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Arthur Jayview full entry

Reference: see Exhibition of books and boats . Jay Arthur, Alexander Hamilton, Petr Herel, Paul Uhlmann, an introductory essay by Alex Selentisch, biographies and checklist of works, for folded sheets, each pp. 6, on each of the artists, illustrated. Fine copy. Layout and design by Paul Uhlmann (Trembling Hand Books) and Jay Arthur, Canberra.
A finely printed book exhibition catalogue.


Publishing details: Melbourne : State Library of Victoria, 1991. Octavo, printed card folio containing loose sheets.

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Arthur Jay

Reference: see Exhibition of books and boats . Jay Arthur, Alexander Hamilton, Petr Herel, Paul Uhlmann, an introductory essay by Alex Selentisch, biographies and checklist of works, for folded sheets, each pp. 6, on each of the artists, illustrated. Fine copy. Layout and design by Paul Uhlmann (Trembling Hand Books) and Jay Arthur, Canberra.
A finely printed book exhibition catalogue.

Publishing details: Melbourne : State Library of Victoria, 1991. Octavo, printed card folio containing loose sheets.

Location:

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Hamilton Alexander view full entry

Reference: see Exhibition of books and boats . Jay Arthur, Alexander Hamilton, Petr Herel, Paul Uhlmann, an introductory essay by Alex Selentisch, biographies and checklist of works, for folded sheets, each pp. 6, on each of the artists, illustrated. Fine copy. Layout and design by Paul Uhlmann (Trembling Hand Books) and Jay Arthur, Canberra.
A finely printed book exhibition catalogue.


Publishing details: Melbourne : State Library of Victoria, 1991. Octavo, printed card folio containing loose sheets.

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Hamilton Alexander

Reference: see Exhibition of books and boats . Jay Arthur, Alexander Hamilton, Petr Herel, Paul Uhlmann, an introductory essay by Alex Selentisch, biographies and checklist of works, for folded sheets, each pp. 6, on each of the artists, illustrated. Fine copy. Layout and design by Paul Uhlmann (Trembling Hand Books) and Jay Arthur, Canberra.
A finely printed book exhibition catalogue.

Publishing details: Melbourne : State Library of Victoria, 1991. Octavo, printed card folio containing loose sheets.

Location:

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Herel Petrview full entry

Reference: see Exhibition of books and boats . Jay Arthur, Alexander Hamilton, Petr Herel, Paul Uhlmann, an introductory essay by Alex Selentisch, biographies and checklist of works, for folded sheets, each pp. 6, on each of the artists, illustrated. Fine copy. Layout and design by Paul Uhlmann (Trembling Hand Books) and Jay Arthur, Canberra.
A finely printed book exhibition catalogue.


Publishing details: Melbourne : State Library of Victoria, 1991. Octavo, printed card folio containing loose sheets.

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Herel Petr

Reference: see Exhibition of books and boats . Jay Arthur, Alexander Hamilton, Petr Herel, Paul Uhlmann, an introductory essay by Alex Selentisch, biographies and checklist of works, for folded sheets, each pp. 6, on each of the artists, illustrated. Fine copy. Layout and design by Paul Uhlmann (Trembling Hand Books) and Jay Arthur, Canberra.
A finely printed book exhibition catalogue.

Publishing details: Melbourne : State Library of Victoria, 1991. Octavo, printed card folio containing loose sheets.

Location:

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Uhlmann Paul ,view full entry

Reference: see Exhibition of books and boats . Jay Arthur, Alexander Hamilton, Petr Herel, Paul Uhlmann, an introductory essay by Alex Selentisch, biographies and checklist of works, for folded sheets, each pp. 6, on each of the artists, illustrated. Fine copy. Layout and design by Paul Uhlmann (Trembling Hand Books) and Jay Arthur, Canberra.
A finely printed book exhibition catalogue.


Publishing details: Melbourne : State Library of Victoria, 1991. Octavo, printed card folio containing loose sheets.

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Uhlmann Paul ,

Reference: see Exhibition of books and boats . Jay Arthur, Alexander Hamilton, Petr Herel, Paul Uhlmann, an introductory essay by Alex Selentisch, biographies and checklist of works, for folded sheets, each pp. 6, on each of the artists, illustrated. Fine copy. Layout and design by Paul Uhlmann (Trembling Hand Books) and Jay Arthur, Canberra.
A finely printed book exhibition catalogue.

Publishing details: Melbourne : State Library of Victoria, 1991. Octavo, printed card folio containing loose sheets.

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Norman Lindsay Does Not Careview full entry

Reference: Norman Lindsay does not care
An outburst by P. R. Stephenson. A humorous outburst by Stephenson (who, with Norman’s son Jack Lindsay, founded the Fanfrolico Press),
Publishing details: London: Fanfrolico Press, [1928]. Price one farthing. Duodecimo, folding sheet, cover illustration, text. No other Fanfrolico pamphlets were issued.
Ref: 1000

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Norman Lindsay Does Not Care

Reference: Norman Lindsay does not care
An outburst by P. R. Stephenson. A humorous outburst by Stephenson (who, with Norman’s son Jack Lindsay, founded the Fanfrolico Press),

Publishing details: London: Fanfrolico Press, [1928]. Price one farthing. Duodecimo, folding sheet, cover illustration, text. No other Fanfrolico pamphlets were issued.

Location: 1000

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Moffatt Traceyview full entry

Reference: Tracey Moffatt. Edited by Paula Savage and Lara Strongman.
Publishing details: Wellington, NZ : City Gallery Wellington, 2002. Oblong quarto, illustrated wrappers, previous owner’s name to half-title, pp. 103, illustrated.
Ref: 1000

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Moffatt Tracey

Reference: Tracey Moffatt. Edited by Paula Savage and Lara Strongman.

Publishing details: Wellington, NZ : City Gallery Wellington, 2002. Oblong quarto, illustrated wrappers, previous owner’s name to half-title, pp. 103, illustrated.

Location: 1000

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Bedford Paddy view full entry

Reference: Paddy Bedford : crossing frontiers. PETITJEAN, Georges et al.
Bedford’s work transcends the levels of the local and the culturally determined in a surprising and convincing way. In 2006, Paddy Bedford’s oeuvre was honoured with a grand retrospective in the Museum of Contemporary Art in Sydney. This book was published for the occasion of his first solo exhibition outside Australia, in the AAMU Museum of contemporary Aboriginal art in Utrecht, the Netherlands.
Publishing details: Utrecht : AAMU–Museum of Contemporary Aboriginal Art ; [Heule, Belgium] : Snoeck, 2009. Octavo, illustrated wrappers, pp. 95, illustrated. Text in French. New copy.


Ref: 1000

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Bedford Paddy

Reference: Paddy Bedford : crossing frontiers. PETITJEAN, Georges et al.
Bedford’s work transcends the levels of the local and the culturally determined in a surprising and convincing way. In 2006, Paddy Bedford’s oeuvre was honoured with a grand retrospective in the Museum of Contemporary Art in Sydney. This book was published for the occasion of his first solo exhibition outside Australia, in the AAMU Museum of contemporary Aboriginal art in Utrecht, the Netherlands.

Publishing details: Utrecht : AAMU–Museum of Contemporary Aboriginal Art ; [Heule, Belgium] : Snoeck, 2009. Octavo, illustrated wrappers, pp. 95, illustrated. Text in French. New copy.

Location: 1000

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Borland Pollyview full entry

Reference: Polly Borland : Australians.Essay by Peter Conrad, biographies and interviews by Virginia Ginnane. Foreword by Nick Cave. Includes portraits of Barry Humphries, Ron Mueck, Marc Newson, Harry Kewell, Clive James, Elisabeth Murdoch, Germaine Greer, Natalie Imbruglia, Richie Benaud, Cate Blanchett, Kylie Minogue and many others.
$50.00 AUD

Publishing details:
London : National Portrait Gallery, 2000. Quarto, illustrated wrappers, pp. 120, illustrated.
Ref: 1000

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Borland Polly

Reference: Polly Borland : Australians.Essay by Peter Conrad, biographies and interviews by Virginia Ginnane. Foreword by Nick Cave. Includes portraits of Barry Humphries, Ron Mueck, Marc Newson, Harry Kewell, Clive James, Elisabeth Murdoch, Germaine Greer, Natalie Imbruglia, Richie Benaud, Cate Blanchett, Kylie Minogue and many others.
$50.00 AUD

Publishing details:
London : National Portrait Gallery, 2000. Quarto, illustrated wrappers, pp. 120, illustrated.

Location: 1000

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Oppen Margaret view full entry

Reference: Do not lament (The song of the axe)
Publishing details:
Sydney : the artist, 2018. Oblong quarto, drum-leaf binding (330 x 450 mm), decorated bookcloth, each copy unique, cloth covered clamshell box. Printed in an edition of 7 copies of which 6 are for sale.
Ref: 1000

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Oppen Margaret

Reference: Do not lament (The song of the axe)

Publishing details:
Sydney : the artist, 2018. Oblong quarto, drum-leaf binding (330 x 450 mm), decorated bookcloth, each copy unique, cloth covered clamshell box. Printed in an edition of 7 copies of which 6 are for sale.

Location: 1000

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Selenitsch Alexview full entry

Reference: Delta blocks

Publishing details: Melbourne : the artist, 2009. Small quarto, diet black wrappers, pp. [8], graphically designed text. Artist’s book limited to 26 copies.

Ref: 1000

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Selenitsch Alex

Reference: Delta blocks

Publishing details: Melbourne : the artist, 2009. Small quarto, diet black wrappers, pp. [8], graphically designed text. Artist’s book limited to 26 copies.

Location: 1000

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Moffatt Traceyview full entry

Reference: Visionaire 30 : the game. Australia edition
Publishing details: [New York] : Visionaire Publishing, 1999. Limited to 6000 numbered copies. A couple of minor cracks to the perspex box. Issue 30 of the avant garde photography magazine, presented in the form of a game, featuring photographs by Australian artists and sitting in a box designed by Louis Vuitton.
Ref: 1000

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Moffatt Tracey

Reference: Visionaire 30 : the game. Australia edition

Publishing details: [New York] : Visionaire Publishing, 1999. Limited to 6000 numbered copies. A couple of minor cracks to the perspex box. Issue 30 of the avant garde photography magazine, presented in the form of a game, featuring photographs by Australian artists and sitting in a box designed by Louis Vuitton.

Location: 1000

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Tipoti Alickview full entry

Reference: Alick Tipoti : Malungu (from the sea).Alick Tipoti was born in 1975 on Thursday Island in the Torres Strait. He has completed an Associate Diploma of Aboriginal and Torres Strait Islander Art at Tropical North Queensland Institute of TAFE.
Publishing details:
Brisbane : Andrew Baker Art Dealer, 2007. Quarto, illustrated wrappers, pp. [24], illustrated. Biography. Printed in an edition of 1000 copies. ‘
Ref: 1000

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Tipoti Alick

Reference: Alick Tipoti : Malungu (from the sea).Alick Tipoti was born in 1975 on Thursday Island in the Torres Strait. He has completed an Associate Diploma of Aboriginal and Torres Strait Islander Art at Tropical North Queensland Institute of TAFE.

Publishing details:
Brisbane : Andrew Baker Art Dealer, 2007. Quarto, illustrated wrappers, pp. [24], illustrated. Biography. Printed in an edition of 1000 copies. ‘

Location: 1000

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Beck Lucy Boydview full entry

Reference: Lucy Boyd Beck : Life and Art. By Colin G. Smith.
Lucy Boyd Beck Life and Art is the first biography of this member of Australia’s foremost artistic family – the Boyds. Her parents, Merric and Doris Boyd raised Lucy and her siblings, Arthur, Guy, David and Mary in a highly creative environment at their home in Murrumbeena. Lucy developed a strong sense of line in her art which she applied to her drawing and painting. Later, she worked with her husband Hatton Beck to create the highly expressive ceramic paintings she is most remembered for, continuing a family tradition of artistic innovation and excellence.
Lucy Boyd Beck Life and Art provides a comprehensive overview of the artist’s family history, her career in art and the major influences on her life. It is a highly pictorial book that features many of her drawings and paintings. It also includes countless photographs of Lucy throughout her life, many never published before.
Colin Smith met Lucy Boyd Beck in 1996 whilst carrying out research into his first book on the life of renowned Australian potter, Merric Boyd. In 1997 he interviewed Lucy about the life of her father and her time growing up at their family home, Open Country in Murrumbeena. It was through this meeting that he established a friendship with Lucy that would endure until her death in 2009. Borne of that friendship Lucy Boyd Beck Life and Art is her story.


Publishing details: Melbourne : the author, 2021. Quarto, illustrated laminated boards, pp. 340, illustrated.
Ref: 1000

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Beck Lucy Boyd

Reference: Lucy Boyd Beck : Life and Art. By Colin G. Smith.
Lucy Boyd Beck Life and Art is the first biography of this member of Australia’s foremost artistic family – the Boyds. Her parents, Merric and Doris Boyd raised Lucy and her siblings, Arthur, Guy, David and Mary in a highly creative environment at their home in Murrumbeena. Lucy developed a strong sense of line in her art which she applied to her drawing and painting. Later, she worked with her husband Hatton Beck to create the highly expressive ceramic paintings she is most remembered for, continuing a family tradition of artistic innovation and excellence.
Lucy Boyd Beck Life and Art provides a comprehensive overview of the artist’s family history, her career in art and the major influences on her life. It is a highly pictorial book that features many of her drawings and paintings. It also includes countless photographs of Lucy throughout her life, many never published before.
Colin Smith met Lucy Boyd Beck in 1996 whilst carrying out research into his first book on the life of renowned Australian potter, Merric Boyd. In 1997 he interviewed Lucy about the life of her father and her time growing up at their family home, Open Country in Murrumbeena. It was through this meeting that he established a friendship with Lucy that would endure until her death in 2009. Borne of that friendship Lucy Boyd Beck Life and Art is her story.

Publishing details: Melbourne : the author, 2021. Quarto, illustrated laminated boards, pp. 340, illustrated.

Location: 1000

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Over the Fenceview full entry

Reference: Over the fence : contemporary indigenous photography from the Corrigan collection Includes works by Dr. Christian Thompson, Michael Riley, Fiona Foley, Ricky Maynard, James Taylor, Vernon Ah Kee, Tony Albert, Brook Andrew, Tracey Moffatt, Leah King-Smith and others.
Publishing details:
[Brisbane, Queensland] : The University of Queensland Art Museum, 2016. Quarto, illustrated wrappers by Destiny Deacon, pp. 93, illustrated.
Ref: 1000

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Over the Fence

Reference: Over the fence : contemporary indigenous photography from the Corrigan collection Includes works by Dr. Christian Thompson, Michael Riley, Fiona Foley, Ricky Maynard, James Taylor, Vernon Ah Kee, Tony Albert, Brook Andrew, Tracey Moffatt, Leah King-Smith and others.

Publishing details:
[Brisbane, Queensland] : The University of Queensland Art Museum, 2016. Quarto, illustrated wrappers by Destiny Deacon, pp. 93, illustrated.

Location: 1000

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photographyview full entry

Reference: see Over the fence : contemporary indigenous photography from the Corrigan collection Includes works by Dr. Christian Thompson, Michael Riley, Fiona Foley, Ricky Maynard, James Taylor, Vernon Ah Kee, Tony Albert, Brook Andrew, Tracey Moffatt, Leah King-Smith and others.
Publishing details:
[Brisbane, Queensland] : The University of Queensland Art Museum, 2016. Quarto, illustrated wrappers by Destiny Deacon, pp. 93, illustrated.

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photography

Reference: see Over the fence : contemporary indigenous photography from the Corrigan collection Includes works by Dr. Christian Thompson, Michael Riley, Fiona Foley, Ricky Maynard, James Taylor, Vernon Ah Kee, Tony Albert, Brook Andrew, Tracey Moffatt, Leah King-Smith and others.

Publishing details:
[Brisbane, Queensland] : The University of Queensland Art Museum, 2016. Quarto, illustrated wrappers by Destiny Deacon, pp. 93, illustrated.

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Aboriginal photographyview full entry

Reference: see Over the fence : contemporary indigenous photography from the Corrigan collection Includes works by Dr. Christian Thompson, Michael Riley, Fiona Foley, Ricky Maynard, James Taylor, Vernon Ah Kee, Tony Albert, Brook Andrew, Tracey Moffatt, Leah King-Smith and others.
Publishing details:
[Brisbane, Queensland] : The University of Queensland Art Museum, 2016. Quarto, illustrated wrappers by Destiny Deacon, pp. 93, illustrated.

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Aboriginal photography

Reference: see Over the fence : contemporary indigenous photography from the Corrigan collection Includes works by Dr. Christian Thompson, Michael Riley, Fiona Foley, Ricky Maynard, James Taylor, Vernon Ah Kee, Tony Albert, Brook Andrew, Tracey Moffatt, Leah King-Smith and others.

Publishing details:
[Brisbane, Queensland] : The University of Queensland Art Museum, 2016. Quarto, illustrated wrappers by Destiny Deacon, pp. 93, illustrated.

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Panting Johnview full entry

Reference: John Panting : a record of structure
Publishing details: Brisbane : Andrew Baker Art Dealer, 2013. Quarto, illustrated wrappers, pp. 24, illustrated. Printed in an edition of 500 copies.
Ref: 1000

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Panting John

Reference: John Panting : a record of structure

Publishing details: Brisbane : Andrew Baker Art Dealer, 2013. Quarto, illustrated wrappers, pp. 24, illustrated. Printed in an edition of 500 copies.

Location: 1000

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Robinson G printer Londonview full entry

Reference: Robinson, G. (Printer).
VIEW OF BOTANY BAY. COPPER ENGRAVING.
[London]: Published by G. Robinson & Co., (1790). First printing. Print. Published in the Ladies Magazine, this early engraving of Sydney features three ships of the First Fleet in Botany Bay (one in the far distance) with two aboriginals in a canoe in the foreground, one fishing and two other canoes to the right. It varies from a similar drawn by Clevely for the "View of Botany Bay" include in Phillip's "The Voyage of Governor Phillip to Botany Bay with an Account of the Establishment of the Colonies of Port Jackson & Norfolk Island..." published in 1789. The Phillip image has the ships in a very different configuration and a single aboriginal in a canoe in the foreground. Both images show the shore behind with some agricultural developement. The 1790 date is stated by the "dictionaryofSydney.org" website.

6 3/4 x 4 3/4" tipped on paper 8 3/4 x 11 1/4", laid paper, Libraries Australia ID 8417226, in the Dixson Collection at the SLNSW. Faint thin line of glue residue in upper margin from placemnt on an album page. [From Antipodean Books, July 2022]

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Robinson G printer London

Reference: Robinson, G. (Printer).
VIEW OF BOTANY BAY. COPPER ENGRAVING.
[London]: Published by G. Robinson & Co., (1790). First printing. Print. Published in the Ladies Magazine, this early engraving of Sydney features three ships of the First Fleet in Botany Bay (one in the far distance) with two aboriginals in a canoe in the foreground, one fishing and two other canoes to the right. It varies from a similar drawn by Clevely for the "View of Botany Bay" include in Phillip's "The Voyage of Governor Phillip to Botany Bay with an Account of the Establishment of the Colonies of Port Jackson & Norfolk Island..." published in 1789. The Phillip image has the ships in a very different configuration and a single aboriginal in a canoe in the foreground. Both images show the shore behind with some agricultural developement. The 1790 date is stated by the "dictionaryofSydney.org" website.

6 3/4 x 4 3/4" tipped on paper 8 3/4 x 11 1/4", laid paper, Libraries Australia ID 8417226, in the Dixson Collection at the SLNSW. Faint thin line of glue residue in upper margin from placemnt on an album page. [From Antipodean Books, July 2022]

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Clevely - related printview full entry

Reference: Robinson, G. (Printer).
VIEW OF BOTANY BAY. COPPER ENGRAVING.
[London]: Published by G. Robinson & Co., (1790). First printing. Print. Published in the Ladies Magazine, this early engraving of Sydney features three ships of the First Fleet in Botany Bay (one in the far distance) with two aboriginals in a canoe in the foreground, one fishing and two other canoes to the right. It varies from a similar drawn by Clevely for the "View of Botany Bay" include in Phillip's "The Voyage of Governor Phillip to Botany Bay with an Account of the Establishment of the Colonies of Port Jackson & Norfolk Island..." published in 1789. The Phillip image has the ships in a very different configuration and a single aboriginal in a canoe in the foreground. Both images show the shore behind with some agricultural developement. The 1790 date is stated by the "dictionaryofSydney.org" website.

6 3/4 x 4 3/4" tipped on paper 8 3/4 x 11 1/4", laid paper, Libraries Australia ID 8417226, in the Dixson Collection at the SLNSW. Faint thin line of glue residue in upper margin from placemnt on an album page. [From Antipodean Books, July 2022]

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Clevely - related print

Reference: Robinson, G. (Printer).
VIEW OF BOTANY BAY. COPPER ENGRAVING.
[London]: Published by G. Robinson & Co., (1790). First printing. Print. Published in the Ladies Magazine, this early engraving of Sydney features three ships of the First Fleet in Botany Bay (one in the far distance) with two aboriginals in a canoe in the foreground, one fishing and two other canoes to the right. It varies from a similar drawn by Clevely for the "View of Botany Bay" include in Phillip's "The Voyage of Governor Phillip to Botany Bay with an Account of the Establishment of the Colonies of Port Jackson & Norfolk Island..." published in 1789. The Phillip image has the ships in a very different configuration and a single aboriginal in a canoe in the foreground. Both images show the shore behind with some agricultural developement. The 1790 date is stated by the "dictionaryofSydney.org" website.

6 3/4 x 4 3/4" tipped on paper 8 3/4 x 11 1/4", laid paper, Libraries Australia ID 8417226, in the Dixson Collection at the SLNSW. Faint thin line of glue residue in upper margin from placemnt on an album page. [From Antipodean Books, July 2022]

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Obarzanek Alexandra view full entry

Reference: Alexandra Obarzanek.
Finkelstein Gallery is honoured to announce a posthumous representation of Mrs. Alexandra Obarzanek. Mrs. Obarzanek was born in Bailystok Poland at the end of the war in 1945. She grew up in Communistic Poland until the age of 13 and immigrated with her mother to Melbourne in 1958 where she attended Elwood high school. She immigrated to Israel just after the six-day war in 1967 and lived and worked on Kibbutz Gal-On until 1974 when she returned to Melbourne. Back in Melbourne she enrolled to RMIT completing a BA in fine arts followed by a Masters in painting.
Obarzanek exhibited commercially in the eighties. Prone to periods of depression, she struggled with her painting and the isolation it entailed she incorporated ceramics in her practice as a social and craft activity, which later in her career became a dominant art form of her practice. The WWII shaped Obarzanek’s life and the outcome of the holocaust in Eastern Europe was the sole driver for her to immigrate to Australia. Obarzanek’s creativity and struggles were directly influenced by the dominant past and to a great extent, her art was a way to make sense of things that could not be reconciled.Mrs. Obarzanek's works are featured in the Jewish Museum of Australia, where they embrace their respected and inestimable permanent collection.
Publishing details: Finkelstein Gasllery, Melbourne 2022, 13pp (downloaded from Fin Gallery website]
Ref: 146

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Obarzanek Alexandra

Reference: Alexandra Obarzanek.
Finkelstein Gallery is honoured to announce a posthumous representation of Mrs. Alexandra Obarzanek. Mrs. Obarzanek was born in Bailystok Poland at the end of the war in 1945. She grew up in Communistic Poland until the age of 13 and immigrated with her mother to Melbourne in 1958 where she attended Elwood high school. She immigrated to Israel just after the six-day war in 1967 and lived and worked on Kibbutz Gal-On until 1974 when she returned to Melbourne. Back in Melbourne she enrolled to RMIT completing a BA in fine arts followed by a Masters in painting.
Obarzanek exhibited commercially in the eighties. Prone to periods of depression, she struggled with her painting and the isolation it entailed she incorporated ceramics in her practice as a social and craft activity, which later in her career became a dominant art form of her practice. The WWII shaped Obarzanek’s life and the outcome of the holocaust in Eastern Europe was the sole driver for her to immigrate to Australia. Obarzanek’s creativity and struggles were directly influenced by the dominant past and to a great extent, her art was a way to make sense of things that could not be reconciled.Mrs. Obarzanek's works are featured in the Jewish Museum of Australia, where they embrace their respected and inestimable permanent collection.

Publishing details: Finkelstein Gasllery, Melbourne 2022, 13pp (downloaded from Fin Gallery website]

Location: 146

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Cadorin Ettoreb sculptorview full entry

Reference: see references p25 in THEO SCHARF - NIGHT IN A CITY, exhibition catalogue, Art Gallery of New South Wales 5 April to 14 May, 2006. Essay by Anne Ryan, listing of the 20 etchings from the ‘Night in the City’ series, biography, etc

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Cadorin Ettoreb sculptor

Reference: see references p25 in THEO SCHARF - NIGHT IN A CITY, exhibition catalogue, Art Gallery of New South Wales 5 April to 14 May, 2006. Essay by Anne Ryan, listing of the 20 etchings from the ‘Night in the City’ series, biography, etc

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Scharf Theoview full entry

Reference: Theo Scharf, Oil paintings, watercolours drawings and prints
Publishing details: Melbourne, 1914
Ref: 1009

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Scharf Theo

Reference: Theo Scharf, Oil paintings, watercolours drawings and prints

Publishing details: Melbourne, 1914

Location: 1009

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White Anthonyview full entry

Reference: Anthony White - Mobilising Materials. At the Mark Rothko Art Centre, Daugavpils, Latvia. With biography and cv and essay. 20 works.
Publishing details: Mark Rothko Art Centre, 2022, hc, 20pp
Ref: 145

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White Anthony

Reference: Anthony White - Mobilising Materials. At the Mark Rothko Art Centre, Daugavpils, Latvia. With biography and cv and essay. 20 works.

Publishing details: Mark Rothko Art Centre, 2022, hc, 20pp

Location: 145

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Prenzel Robertview full entry

Reference: see Joel’s press release July, 2022:
Leonard Joel is honoured to offer the Laidlaw bedroom suite by Robert Prenzel (1866–1941) in our August Decorative Arts auction.
The suite, made circa 1908, is one of five similar suites made by Prenzel between 1905 and 1910, all to commission for prominent Western District patrons, that, together, form one of the most important bodies of work in earlier Australian furniture design. The suite has remained within the Laidlaw family since its creation and is perhaps the last of these suites to remain intact in original ownership.

A Carved Australian Blackwood Dressing Table by Robert Prenzel, Circa 1908 $20,000 – 25,000
Born and trained as a carver in Germany, Prenzel arrived in Melbourne in 1888. For the next thirteen years, he worked as a designer and carver of decorative elements for use on furniture and in architectural schemes, mostly in fashionable historically-inspired styles. Around 1900, Prenzel turned to new, seemingly disparate sources of inspiration; the European Art Nouveau and Australian fauna and flora, the latter reflecting the current of national pride in Australia surrounding federation in 1901.
These interests are evident, usually separate from each other, in Prenzel’s work in the following years but came together in a more substantial and dramatic way in his 1905–1910 bedroom suites. The first of these was that commissioned by Steuart and Isabella Black as part of a major renovation of their historic Western District homestead ‘Glenormiston’. The Glenormiston suite is, however, only partly a precursor of the following suites for while it is generally similar to these in composition and design, its carved decoration is entirely in the Art Nouveau idiom with no Australian motifs at all.
The change was to come with Prenzel’s next bedroom suite, the ‘Mathias suite’ of 1906–1907, now in the National Gallery of Victoria. This was commissioned by Isabella Black’s visiting sister May, who, despite being Canadian, requested that her suite be decorated with Australian fauna and flora. This suite attracted much attention in Prenzel’s Melbourne workshop before being shipped off and was replicated for another Western District patron (this latter suite now dispersed).
Next was the Laidlaw suite of 1908, commissioned as a gift to Thomas Haliburton Laidlaw, a prosperous auctioneer, station agent, and pastoralist, by his wife Margaret for ‘Kilora’, their fine house in Hamilton for which Prenzel also provided architectural woodwork.
The decoration of the Laidlaw suite is the richest and most exuberant of Prenzel’s 1905–1910 suites. The design and carving of the Glenormiston suite is restrained even by comparison with some of Prenzel’s earlier work, restraint he continued in the Mathias suite even with its introduction of Australian motifs, but Prenzel seems to have cast this restraint aside for the Laidlaws, in so doing reaching for the first time the full-blown style for which he is best known. More boldly carved overall in deeper relief than its predecessors, the Laidlaw suite is also richer in faunal decoration, including, most spectacularly, near-freestanding figures perched atop three pieces in the suite that are not found on any of the other suites.

A Carved Australian Blackwood Wardrobe By Robert Prenzel
Circa 1908 $50,000 – 70,000
In its freedom, Prenzel’s work for the Laidlaws marks a high point among these suites. The last of these, the ‘Davies suite’ of 1910 for another part of the Black family, retains much of the character of the Laidlaw suite but at a more subdued level.
It appears Prenzel made no further suites, turning instead to producing the smaller works – stand-alone faunal panels and occasional single pieces of furniture – that are now the most commonly seen of his work. Typically carved in deep relief, and sometimes surmounted with figures carved almost in the round, these relate most closely to the particular manner of the Laidlaw suite.
Seen in this context, the Laidlaw suite may fairly be regarded as the fullest expression of what we now associate with Robert Prenzel.
DAVID PARSONS / Head of Decorative Arts
Reference: Terence Lane, Robert Prenzel 1866–1941: His Life and Work (National Gallery of Victoria, 1994)
Banner Image (detail): A Carved Australian Blackwood Chest of Drawers by Robert Prenzel, Circa 1908. $20,000 – 25,000
July 2022

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Prenzel Robert

Reference: see Joel’s press release July, 2022:
Leonard Joel is honoured to offer the Laidlaw bedroom suite by Robert Prenzel (1866–1941) in our August Decorative Arts auction.
The suite, made circa 1908, is one of five similar suites made by Prenzel between 1905 and 1910, all to commission for prominent Western District patrons, that, together, form one of the most important bodies of work in earlier Australian furniture design. The suite has remained within the Laidlaw family since its creation and is perhaps the last of these suites to remain intact in original ownership.

A Carved Australian Blackwood Dressing Table by Robert Prenzel, Circa 1908 $20,000 – 25,000
Born and trained as a carver in Germany, Prenzel arrived in Melbourne in 1888. For the next thirteen years, he worked as a designer and carver of decorative elements for use on furniture and in architectural schemes, mostly in fashionable historically-inspired styles. Around 1900, Prenzel turned to new, seemingly disparate sources of inspiration; the European Art Nouveau and Australian fauna and flora, the latter reflecting the current of national pride in Australia surrounding federation in 1901.
These interests are evident, usually separate from each other, in Prenzel’s work in the following years but came together in a more substantial and dramatic way in his 1905–1910 bedroom suites. The first of these was that commissioned by Steuart and Isabella Black as part of a major renovation of their historic Western District homestead ‘Glenormiston’. The Glenormiston suite is, however, only partly a precursor of the following suites for while it is generally similar to these in composition and design, its carved decoration is entirely in the Art Nouveau idiom with no Australian motifs at all.
The change was to come with Prenzel’s next bedroom suite, the ‘Mathias suite’ of 1906–1907, now in the National Gallery of Victoria. This was commissioned by Isabella Black’s visiting sister May, who, despite being Canadian, requested that her suite be decorated with Australian fauna and flora. This suite attracted much attention in Prenzel’s Melbourne workshop before being shipped off and was replicated for another Western District patron (this latter suite now dispersed).
Next was the Laidlaw suite of 1908, commissioned as a gift to Thomas Haliburton Laidlaw, a prosperous auctioneer, station agent, and pastoralist, by his wife Margaret for ‘Kilora’, their fine house in Hamilton for which Prenzel also provided architectural woodwork.
The decoration of the Laidlaw suite is the richest and most exuberant of Prenzel’s 1905–1910 suites. The design and carving of the Glenormiston suite is restrained even by comparison with some of Prenzel’s earlier work, restraint he continued in the Mathias suite even with its introduction of Australian motifs, but Prenzel seems to have cast this restraint aside for the Laidlaws, in so doing reaching for the first time the full-blown style for which he is best known. More boldly carved overall in deeper relief than its predecessors, the Laidlaw suite is also richer in faunal decoration, including, most spectacularly, near-freestanding figures perched atop three pieces in the suite that are not found on any of the other suites.

A Carved Australian Blackwood Wardrobe By Robert Prenzel
Circa 1908 $50,000 – 70,000
In its freedom, Prenzel’s work for the Laidlaws marks a high point among these suites. The last of these, the ‘Davies suite’ of 1910 for another part of the Black family, retains much of the character of the Laidlaw suite but at a more subdued level.
It appears Prenzel made no further suites, turning instead to producing the smaller works – stand-alone faunal panels and occasional single pieces of furniture – that are now the most commonly seen of his work. Typically carved in deep relief, and sometimes surmounted with figures carved almost in the round, these relate most closely to the particular manner of the Laidlaw suite.
Seen in this context, the Laidlaw suite may fairly be regarded as the fullest expression of what we now associate with Robert Prenzel.
DAVID PARSONS / Head of Decorative Arts
Reference: Terence Lane, Robert Prenzel 1866–1941: His Life and Work (National Gallery of Victoria, 1994)
Banner Image (detail): A Carved Australian Blackwood Chest of Drawers by Robert Prenzel, Circa 1908. $20,000 – 25,000
July 2022

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Thomas Davidview full entry

Reference: When a still painting shows us that we are moving : Impermanences and other projects 2010-2016, by David Thomas.
"When a still painting shows us that we are moving' presents Melbourne painter and installation artist David Thomas' latest body of work, Impermanences. Featuring contributions from Kit Wise, Professor of Fine Art and Director of the Tasmanian College of the Arts, University of Tasmania; Dr Michael Graeve, a visual and sound artist; and David Thomas."--Website.
Publishing details: Surpllus Pty Ltd, 2016.
Ref: 1000

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Thomas David

Reference: When a still painting shows us that we are moving : Impermanences and other projects 2010-2016, by David Thomas.
"When a still painting shows us that we are moving' presents Melbourne painter and installation artist David Thomas' latest body of work, Impermanences. Featuring contributions from Kit Wise, Professor of Fine Art and Director of the Tasmanian College of the Arts, University of Tasmania; Dr Michael Graeve, a visual and sound artist; and David Thomas."--Website.

Publishing details: Surpllus Pty Ltd, 2016.

Location: 1000

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When a still painting shows us that we are moving : Impermanences and other projects 2010-2016,view full entry

Reference: see When a still painting shows us that we are moving : Impermanences and other projects 2010-2016, by David Thomas.
"When a still painting shows us that we are moving' presents Melbourne painter and installation artist David Thomas' latest body of work, Impermanences. Featuring contributions from Kit Wise, Professor of Fine Art and Director of the Tasmanian College of the Arts, University of Tasmania; Dr Michael Graeve, a visual and sound artist; and David Thomas."--Website.
Publishing details: Surpllus Pty Ltd, 2016.

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When a still painting shows us that we are moving : Impermanences and other projects 2010-2016,

Reference: see When a still painting shows us that we are moving : Impermanences and other projects 2010-2016, by David Thomas.
"When a still painting shows us that we are moving' presents Melbourne painter and installation artist David Thomas' latest body of work, Impermanences. Featuring contributions from Kit Wise, Professor of Fine Art and Director of the Tasmanian College of the Arts, University of Tasmania; Dr Michael Graeve, a visual and sound artist; and David Thomas."--Website.

Publishing details: Surpllus Pty Ltd, 2016.

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Namadbara Paddy Compass view full entry

Reference: Clever Man, the life of Paddy Compass Namadbara, by Big Bill Neidjie (Narrator), Bluey Ilkgirr (Narrator), Jacob Nayinggul (Narrator), Jim Wauchope (Narrator), Johnny Williams Snr. (Narrator), Ron Cooper (Narrator), Thompson Yuludjiri (Narrator), and others (Narrator), Ian White (Compiler).
Clever Man: The Life of Paddy Compass Namadbara offers a unique perspective on the life and making of this Aboriginal Western Arnhem clever man or marrkidjbu.
Born at the end of the 19th Century when the Western world had scarcely touched Arnhem Land, Paddy Compass Namadbara acted as a healer for his countrymen and became a powerful and revered leader. Using his clever abilities and wisdom to nurture his community, he enabled the community to deal with the cultural and social changes of the encroaching Western world. He achieved the reputation of being one of the most powerful and clever of traditional marrkidjbu described as 'a proper number one champion!'
Based on stories told by the people he helped, some profoundly and in extraordinary ways. This unique biography looks at his life through the eyes of his Western Arnhem countrymen who witnessed his extraordinary abilities. Ian White, researcher and compiler for Clever Man: The Life of Paddy Compass Namadbara, encourages readers to give greater consideration to the reality of the extraordinary abilities of clever people such as Paddy Compass.
'Ian White's book offers a unique historical glimpse into an Aboriginal world on the cusp of change due to European incursion; it reveals an authentic insight into the special relationship of the 'clever man' with his Dreaming spirits and his process of initiation into the special knowledge of a marrkidjbu. White compiled his generalised account of 'Old Paddy', aka Paddy Compass Namadbara, from a number of West Arnhem people for whom Old Paddy had been a major figure in their lives. Recording various accounts, White's extraordinary work shows Old Paddy's special talent for healing the sick, exercising wisdom, and having visions in which he foresaw future events, for which he offered guidance and strategies for dealing with Western encroachment. Old Paddy's visions of the future foretold major events that were astonishing in the 1950s: Aborigines would get paid for their work, would own land and cars, and that money issues would bring division. All of his predictions came true. A rare insight into the world of the Dreaming, this book is unique and essential reading.' ― Susan Greenwood, University of Sussex

'Forty years since the passing of Paddy Compass Namadbara, his legacy still looms large amongst the people of western Arnhem Land. Ian White has dedicated decades to recording the story of Namadbara's life and here he presents an extraordinary biography as told by the people of this region of the Northern Territory. The anecdotes about Namadbara's exceptional powers as a 'clever man' portray him as a community leader, teacher, sage, mystic, counsellor and healer. These are however more than just marvellous stories that defy explanation and evoke our wonder. The events of Namadbara's life, described by so many witnesses from both sides of the cultural divide, and collated so respectfully in this book, are an ongoing challenge to how various fields of the social and cognitive sciences should deal with such matters.' ― Dr Murray Garde OAM, ANU

Publishing details: Aboriginal Studies Press, 2020, 128pp
Ref: 1000

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Namadbara Paddy Compass

Reference: Clever Man, the life of Paddy Compass Namadbara, by Big Bill Neidjie (Narrator), Bluey Ilkgirr (Narrator), Jacob Nayinggul (Narrator), Jim Wauchope (Narrator), Johnny Williams Snr. (Narrator), Ron Cooper (Narrator), Thompson Yuludjiri (Narrator), and others (Narrator), Ian White (Compiler).
Clever Man: The Life of Paddy Compass Namadbara offers a unique perspective on the life and making of this Aboriginal Western Arnhem clever man or marrkidjbu.
Born at the end of the 19th Century when the Western world had scarcely touched Arnhem Land, Paddy Compass Namadbara acted as a healer for his countrymen and became a powerful and revered leader. Using his clever abilities and wisdom to nurture his community, he enabled the community to deal with the cultural and social changes of the encroaching Western world. He achieved the reputation of being one of the most powerful and clever of traditional marrkidjbu described as 'a proper number one champion!'
Based on stories told by the people he helped, some profoundly and in extraordinary ways. This unique biography looks at his life through the eyes of his Western Arnhem countrymen who witnessed his extraordinary abilities. Ian White, researcher and compiler for Clever Man: The Life of Paddy Compass Namadbara, encourages readers to give greater consideration to the reality of the extraordinary abilities of clever people such as Paddy Compass.
'Ian White's book offers a unique historical glimpse into an Aboriginal world on the cusp of change due to European incursion; it reveals an authentic insight into the special relationship of the 'clever man' with his Dreaming spirits and his process of initiation into the special knowledge of a marrkidjbu. White compiled his generalised account of 'Old Paddy', aka Paddy Compass Namadbara, from a number of West Arnhem people for whom Old Paddy had been a major figure in their lives. Recording various accounts, White's extraordinary work shows Old Paddy's special talent for healing the sick, exercising wisdom, and having visions in which he foresaw future events, for which he offered guidance and strategies for dealing with Western encroachment. Old Paddy's visions of the future foretold major events that were astonishing in the 1950s: Aborigines would get paid for their work, would own land and cars, and that money issues would bring division. All of his predictions came true. A rare insight into the world of the Dreaming, this book is unique and essential reading.' ― Susan Greenwood, University of Sussex

'Forty years since the passing of Paddy Compass Namadbara, his legacy still looms large amongst the people of western Arnhem Land. Ian White has dedicated decades to recording the story of Namadbara's life and here he presents an extraordinary biography as told by the people of this region of the Northern Territory. The anecdotes about Namadbara's exceptional powers as a 'clever man' portray him as a community leader, teacher, sage, mystic, counsellor and healer. These are however more than just marvellous stories that defy explanation and evoke our wonder. The events of Namadbara's life, described by so many witnesses from both sides of the cultural divide, and collated so respectfully in this book, are an ongoing challenge to how various fields of the social and cognitive sciences should deal with such matters.' ― Dr Murray Garde OAM, ANU

Publishing details: Aboriginal Studies Press, 2020, 128pp

Location: 1000

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Ormandy Stephenview full entry

Reference: Stephen Ormandy - Only Dancing.
With decades of international recognition as one half of Dinosaur Designs, Australian artist and designer Stephen Ormandy has spent the past 15 years expanding on his personal artistic practice to further acclaim. Only Dancing is the first publication dedicated to surveying Ormandy's vibrant, large-scale oil painting and the playfulness he brings to everything he does. This latest Formist Edition(Sydney) is produced with a screenprinted PVC dust jacket, metallic reproductions and features an essay by New York-based curator and critic Lilly Wei. The book is a tactile, elegant, and slightly mischievous take on the traditional monograph — an object that catches the eye and keeps it moving, much like Ormandy's seductive paintings.

Publishing details: Formist Editions (Sydney), 96 pages, hardcover,
Ref: 1000

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Ormandy Stephen

Reference: Stephen Ormandy - Only Dancing.
With decades of international recognition as one half of Dinosaur Designs, Australian artist and designer Stephen Ormandy has spent the past 15 years expanding on his personal artistic practice to further acclaim. Only Dancing is the first publication dedicated to surveying Ormandy's vibrant, large-scale oil painting and the playfulness he brings to everything he does. This latest Formist Edition(Sydney) is produced with a screenprinted PVC dust jacket, metallic reproductions and features an essay by New York-based curator and critic Lilly Wei. The book is a tactile, elegant, and slightly mischievous take on the traditional monograph — an object that catches the eye and keeps it moving, much like Ormandy's seductive paintings.

Publishing details: Formist Editions (Sydney), 96 pages, hardcover,

Location: 1000

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Done Kenview full entry

Reference: Reef by Ken Done
Publishing details: Port Melbourne, Victoria : Thames & Hudson Australia, 2020
Ref: 1000

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Done Ken

Reference: Reef by Ken Done

Publishing details: Port Melbourne, Victoria : Thames & Hudson Australia, 2020

Location: 1000

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Done Kenview full entry

Reference: Beach by Ken Done
Publishing details: Port Melbourne, Victoria : Thames & Hudson Australia, 2020
Ref: 1000

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Done Ken

Reference: Beach by Ken Done

Publishing details: Port Melbourne, Victoria : Thames & Hudson Australia, 2020

Location: 1000

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Done Kenview full entry

Reference: Sydney by Ken Done
Publishing details: Port Melbourne, Victoria : Thames & Hudson Australia, 2020
Ref: 1000

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Done Ken

Reference: Sydney by Ken Done

Publishing details: Port Melbourne, Victoria : Thames & Hudson Australia, 2020

Location: 1000

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Identity, Community and Australian Artists, 1890-1914view full entry

Reference: Identity, Community and Australian Artists, 1890-1914, Paris, London and Further Afield, by Kate R. Robertson.
Table of Contents:
Chapter 1: An Edwardian Excursion?: Identity, Belonging and Community for Australian Artists Abroad
Chapter 2: Widening the Circle of Art: The Voyage to Europe and the Melbourne National Gallery Travelling Scholarship
Chapter 3: From Paris to London: Australians in Ateliers, Clubs and Societies
Chapter 4: The Lure of London: Portraits, Performances and the Australian Brethren of the Brush
Chapter 5: Performing the Role of the Artist: Bohemia, Self-portraits and Dressing-up
Chapter 6: Women outside bohemia: Suffrage, Travel and Imagined Worlds
Chapter 7: Flying Further Afield: Authenticity, the Bush and Artist Colonies in England and France
Epilogue: A Transformed World

An irresistible call lured Australian artists abroad between 1890 and 1914, a transitional period immediately pre- and post-federation. Travelling enabled an extension of artistic frontiers, and Paris – the centre of art – and London – the heart of the Empire – promised wondrous opportunities. These expatriate artists formed communities based on their common bond to Australia, enacting their Australian-ness in private and public settings.

Yet, they also interacted with the broader creative community, fashioning a network of social and professional relationships. They joined ateliers in Paris such as the Académie Julian, clubs like the Chelsea Arts Club in London and visited artist colonies including St Ives in England and Étaples in France. Australian artists persistently sought a sense of belonging, negotiating their identity through activities such as plays, balls, tableaux, parties, dressing-up and, of course, the creation of art. While individual biographies are integral to this study, it is through exploring the connections between them that it offers new insights.

Through utilising extensive archival material, much of which has limited or no publication history, this book fills a gap in existing scholarship. It offers a vital exploration re-consideration of the fluidity of identity, place and belonging in the lives and work of Australian artists in this juncture in British-Australian history.

Reviews
‘Robertson provides a rich survey of key itinerant episodes in the lives of an important generation of Australian artists. She analyses in-depth how these men and women travelled to access the treasures and opportunities afforded by Europe, transforming their identities as they rebalanced their national and international artistic ideals, which her readers will find informative and illuminating.
Matthew C. Potter, Associate Professor of Art and Design History, Northumbria University, Newcastle-upon-Tyne, UK 
‘Expatriatism is often seen as a blight on a nation's cultural development: Kate Robertson turns that notion on its head and convincingly places fin de siècle painters in Europe at the very centre of Australian art.
Richard White, Associate Professor, History, University of Sydney, Australia 




Publishing details: Bloomsbury, 2022, 256pp, 10 colour and 40 bw illus, pb.

×

Identity, Community and Australian Artists, 1890-1914

Reference: Identity, Community and Australian Artists, 1890-1914, Paris, London and Further Afield, by Kate R. Robertson.
Table of Contents:
Chapter 1: An Edwardian Excursion?: Identity, Belonging and Community for Australian Artists Abroad
Chapter 2: Widening the Circle of Art: The Voyage to Europe and the Melbourne National Gallery Travelling Scholarship
Chapter 3: From Paris to London: Australians in Ateliers, Clubs and Societies
Chapter 4: The Lure of London: Portraits, Performances and the Australian Brethren of the Brush
Chapter 5: Performing the Role of the Artist: Bohemia, Self-portraits and Dressing-up
Chapter 6: Women outside bohemia: Suffrage, Travel and Imagined Worlds
Chapter 7: Flying Further Afield: Authenticity, the Bush and Artist Colonies in England and France
Epilogue: A Transformed World

An irresistible call lured Australian artists abroad between 1890 and 1914, a transitional period immediately pre- and post-federation. Travelling enabled an extension of artistic frontiers, and Paris – the centre of art – and London – the heart of the Empire – promised wondrous opportunities. These expatriate artists formed communities based on their common bond to Australia, enacting their Australian-ness in private and public settings.

Yet, they also interacted with the broader creative community, fashioning a network of social and professional relationships. They joined ateliers in Paris such as the Académie Julian, clubs like the Chelsea Arts Club in London and visited artist colonies including St Ives in England and Étaples in France. Australian artists persistently sought a sense of belonging, negotiating their identity through activities such as plays, balls, tableaux, parties, dressing-up and, of course, the creation of art. While individual biographies are integral to this study, it is through exploring the connections between them that it offers new insights.

Through utilising extensive archival material, much of which has limited or no publication history, this book fills a gap in existing scholarship. It offers a vital exploration re-consideration of the fluidity of identity, place and belonging in the lives and work of Australian artists in this juncture in British-Australian history.

Reviews
‘Robertson provides a rich survey of key itinerant episodes in the lives of an important generation of Australian artists. She analyses in-depth how these men and women travelled to access the treasures and opportunities afforded by Europe, transforming their identities as they rebalanced their national and international artistic ideals, which her readers will find informative and illuminating.
Matthew C. Potter, Associate Professor of Art and Design History, Northumbria University, Newcastle-upon-Tyne, UK 
‘Expatriatism is often seen as a blight on a nation's cultural development: Kate Robertson turns that notion on its head and convincingly places fin de siècle painters in Europe at the very centre of Australian art.
Richard White, Associate Professor, History, University of Sydney, Australia 


Publishing details: Bloomsbury, 2022, 256pp, 10 colour and 40 bw illus, pb.

Location: 0

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Dowling W Paul photographerview full entry

Reference: see WALKER, Anna Frances (1830-1913); PERRY, George William (photographer)
Studio portrait of botanical artist Anna Frances Walker. Taken in Melbourne, circa 1865. [with Douglas Stewart Fine Books, August, 2022]

ster, Adela (1847-1932), taken in Launceston, Tasmania, 1864. Albumen print photograph, carte de visite format, 106 x 63 mm (mount); verso imprinted ‘W. Paul Dowling, Photographic Artist. Quadrant, Launceston’, and with a fully contemporary inscription in ink ‘Adela Russell Walker. Rhodes, 1864’ (the Walker family’s Van Diemen’s Land property, near Longford, was called Rhodes House); the print a little pale and with a couple of tiny marks.
A rare mid-1860s portrait photograph of one of the most significant Australian women artists of the nineteenth century, Anna (Annie) Frances Walker, of Rhodes (Sydney) and Longford, Tasmania. 
Another example of this studio portrait of the botanical artist and plant collector is held in a Walker family album in the Mitchell Library, Sydney.
From the Australian National Herbarium website:
Walker, Anna (Annie) Frances (1830-1913). Born in June, 1830, at Rhodes, the family home on Parramatta River, Concord, NSW. She died there in 1913. Her father Thomas Walker was deputy assistant Commissary General in charge of stores at Paramatta and Port Jackson; her mother Anna Elizabeth Blaxland belonged to the high society Blaxland family, famous for the explorer Gregory Blaxland. Her parents married in 1823 and took their young family to Van Diemen’s Land in 1832 to another family property.
Anna inherited her mother’s interest in botany and botanical illustration. When she was about 16 or 17 she spent about two years living with her grandmother at Newington, the Blaxland family’s home on the Parramatta River, who further encouraged her interest in botany. At Newington she received instruction in watercolour painting from Henry Curzon Allport (once a pupil of John Glover).
Thomas Walker died in 1861, and in 1870 the family returned permanently to Rhodes in Concord. Annie remained there with her two unmarried sisters for the rest of their lives. A few years after Anna appears to have begun exhibiting her artwork. In 1873 she submitted ten wildflower works to the NSW Academy of Art exhibition and the Agricultural Society’s show. That same year she won a gold medal in the London Internatiional Exhibitiion for her watercolours of Tasmanian flowers. When the Internatiional Exhibition was held in Sydney in 1879 her collection of wildflower paintings garnered her a ‘Highly Commended’.
In 1881 she sought and received help from Ferdinand von Mueller to annotate some of her paintings in an effort to have them published. In 1887, having had no luck with publishers, she self-funded the publication of Flowers of New South Wales, a small collection of her many flower paintings, perhaps intending to add further volumes if the venture was successful. The poor quality of the ten chromolithographs did not do justice to her paintings.
Over the years she amassed eight volumes of botanical watercolours, some 1,700 illustrations, done in Tasmania and NSW between 1875 and 1910, which she hoped to publish. In this venture she was unsuccessful. In the end she sold her extensive collection to David Scott Mitchell, the founder of the Mitchell Library in NSW for 70 pounds.
“I let it go at the absurd price being too annoyed, & disheartened to trouble any more about the matter.”‘

×

Dowling W Paul photographer

Reference: see WALKER, Anna Frances (1830-1913); PERRY, George William (photographer)
Studio portrait of botanical artist Anna Frances Walker. Taken in Melbourne, circa 1865. [with Douglas Stewart Fine Books, August, 2022]

ster, Adela (1847-1932), taken in Launceston, Tasmania, 1864. Albumen print photograph, carte de visite format, 106 x 63 mm (mount); verso imprinted ‘W. Paul Dowling, Photographic Artist. Quadrant, Launceston’, and with a fully contemporary inscription in ink ‘Adela Russell Walker. Rhodes, 1864’ (the Walker family’s Van Diemen’s Land property, near Longford, was called Rhodes House); the print a little pale and with a couple of tiny marks.
A rare mid-1860s portrait photograph of one of the most significant Australian women artists of the nineteenth century, Anna (Annie) Frances Walker, of Rhodes (Sydney) and Longford, Tasmania. 
Another example of this studio portrait of the botanical artist and plant collector is held in a Walker family album in the Mitchell Library, Sydney.
From the Australian National Herbarium website:
Walker, Anna (Annie) Frances (1830-1913). Born in June, 1830, at Rhodes, the family home on Parramatta River, Concord, NSW. She died there in 1913. Her father Thomas Walker was deputy assistant Commissary General in charge of stores at Paramatta and Port Jackson; her mother Anna Elizabeth Blaxland belonged to the high society Blaxland family, famous for the explorer Gregory Blaxland. Her parents married in 1823 and took their young family to Van Diemen’s Land in 1832 to another family property.
Anna inherited her mother’s interest in botany and botanical illustration. When she was about 16 or 17 she spent about two years living with her grandmother at Newington, the Blaxland family’s home on the Parramatta River, who further encouraged her interest in botany. At Newington she received instruction in watercolour painting from Henry Curzon Allport (once a pupil of John Glover).
Thomas Walker died in 1861, and in 1870 the family returned permanently to Rhodes in Concord. Annie remained there with her two unmarried sisters for the rest of their lives. A few years after Anna appears to have begun exhibiting her artwork. In 1873 she submitted ten wildflower works to the NSW Academy of Art exhibition and the Agricultural Society’s show. That same year she won a gold medal in the London Internatiional Exhibitiion for her watercolours of Tasmanian flowers. When the Internatiional Exhibition was held in Sydney in 1879 her collection of wildflower paintings garnered her a ‘Highly Commended’.
In 1881 she sought and received help from Ferdinand von Mueller to annotate some of her paintings in an effort to have them published. In 1887, having had no luck with publishers, she self-funded the publication of Flowers of New South Wales, a small collection of her many flower paintings, perhaps intending to add further volumes if the venture was successful. The poor quality of the ten chromolithographs did not do justice to her paintings.
Over the years she amassed eight volumes of botanical watercolours, some 1,700 illustrations, done in Tasmania and NSW between 1875 and 1910, which she hoped to publish. In this venture she was unsuccessful. In the end she sold her extensive collection to David Scott Mitchell, the founder of the Mitchell Library in NSW for 70 pounds.
“I let it go at the absurd price being too annoyed, & disheartened to trouble any more about the matter.”‘

Publishing details:

Location:

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Perry George William photographerview full entry

Reference: see WALKER, Anna Frances (1830-1913); PERRY, George William (photographer)
Studio portrait of botanical artist Anna Frances Walker. Taken in Melbourne, circa 1865. [with Douglas Stewart Fine Books, August, 2022]

ster, Adela (1847-1932), taken in Launceston, Tasmania, 1864. Albumen print photograph, carte de visite format, 106 x 63 mm (mount); verso imprinted ‘W. Paul Dowling, Photographic Artist. Quadrant, Launceston’, and with a fully contemporary inscription in ink ‘Adela Russell Walker. Rhodes, 1864’ (the Walker family’s Van Diemen’s Land property, near Longford, was called Rhodes House); the print a little pale and with a couple of tiny marks.
A rare mid-1860s portrait photograph of one of the most significant Australian women artists of the nineteenth century, Anna (Annie) Frances Walker, of Rhodes (Sydney) and Longford, Tasmania. 
Another example of this studio portrait of the botanical artist and plant collector is held in a Walker family album in the Mitchell Library, Sydney.
From the Australian National Herbarium website:
Walker, Anna (Annie) Frances (1830-1913). Born in June, 1830, at Rhodes, the family home on Parramatta River, Concord, NSW. She died there in 1913. Her father Thomas Walker was deputy assistant Commissary General in charge of stores at Paramatta and Port Jackson; her mother Anna Elizabeth Blaxland belonged to the high society Blaxland family, famous for the explorer Gregory Blaxland. Her parents married in 1823 and took their young family to Van Diemen’s Land in 1832 to another family property.
Anna inherited her mother’s interest in botany and botanical illustration. When she was about 16 or 17 she spent about two years living with her grandmother at Newington, the Blaxland family’s home on the Parramatta River, who further encouraged her interest in botany. At Newington she received instruction in watercolour painting from Henry Curzon Allport (once a pupil of John Glover).
Thomas Walker died in 1861, and in 1870 the family returned permanently to Rhodes in Concord. Annie remained there with her two unmarried sisters for the rest of their lives. A few years after Anna appears to have begun exhibiting her artwork. In 1873 she submitted ten wildflower works to the NSW Academy of Art exhibition and the Agricultural Society’s show. That same year she won a gold medal in the London Internatiional Exhibitiion for her watercolours of Tasmanian flowers. When the Internatiional Exhibition was held in Sydney in 1879 her collection of wildflower paintings garnered her a ‘Highly Commended’.
In 1881 she sought and received help from Ferdinand von Mueller to annotate some of her paintings in an effort to have them published. In 1887, having had no luck with publishers, she self-funded the publication of Flowers of New South Wales, a small collection of her many flower paintings, perhaps intending to add further volumes if the venture was successful. The poor quality of the ten chromolithographs did not do justice to her paintings.
Over the years she amassed eight volumes of botanical watercolours, some 1,700 illustrations, done in Tasmania and NSW between 1875 and 1910, which she hoped to publish. In this venture she was unsuccessful. In the end she sold her extensive collection to David Scott Mitchell, the founder of the Mitchell Library in NSW for 70 pounds.
“I let it go at the absurd price being too annoyed, & disheartened to trouble any more about the matter.”‘

×

Perry George William photographer

Reference: see WALKER, Anna Frances (1830-1913); PERRY, George William (photographer)
Studio portrait of botanical artist Anna Frances Walker. Taken in Melbourne, circa 1865. [with Douglas Stewart Fine Books, August, 2022]

ster, Adela (1847-1932), taken in Launceston, Tasmania, 1864. Albumen print photograph, carte de visite format, 106 x 63 mm (mount); verso imprinted ‘W. Paul Dowling, Photographic Artist. Quadrant, Launceston’, and with a fully contemporary inscription in ink ‘Adela Russell Walker. Rhodes, 1864’ (the Walker family’s Van Diemen’s Land property, near Longford, was called Rhodes House); the print a little pale and with a couple of tiny marks.
A rare mid-1860s portrait photograph of one of the most significant Australian women artists of the nineteenth century, Anna (Annie) Frances Walker, of Rhodes (Sydney) and Longford, Tasmania. 
Another example of this studio portrait of the botanical artist and plant collector is held in a Walker family album in the Mitchell Library, Sydney.
From the Australian National Herbarium website:
Walker, Anna (Annie) Frances (1830-1913). Born in June, 1830, at Rhodes, the family home on Parramatta River, Concord, NSW. She died there in 1913. Her father Thomas Walker was deputy assistant Commissary General in charge of stores at Paramatta and Port Jackson; her mother Anna Elizabeth Blaxland belonged to the high society Blaxland family, famous for the explorer Gregory Blaxland. Her parents married in 1823 and took their young family to Van Diemen’s Land in 1832 to another family property.
Anna inherited her mother’s interest in botany and botanical illustration. When she was about 16 or 17 she spent about two years living with her grandmother at Newington, the Blaxland family’s home on the Parramatta River, who further encouraged her interest in botany. At Newington she received instruction in watercolour painting from Henry Curzon Allport (once a pupil of John Glover).
Thomas Walker died in 1861, and in 1870 the family returned permanently to Rhodes in Concord. Annie remained there with her two unmarried sisters for the rest of their lives. A few years after Anna appears to have begun exhibiting her artwork. In 1873 she submitted ten wildflower works to the NSW Academy of Art exhibition and the Agricultural Society’s show. That same year she won a gold medal in the London Internatiional Exhibitiion for her watercolours of Tasmanian flowers. When the Internatiional Exhibition was held in Sydney in 1879 her collection of wildflower paintings garnered her a ‘Highly Commended’.
In 1881 she sought and received help from Ferdinand von Mueller to annotate some of her paintings in an effort to have them published. In 1887, having had no luck with publishers, she self-funded the publication of Flowers of New South Wales, a small collection of her many flower paintings, perhaps intending to add further volumes if the venture was successful. The poor quality of the ten chromolithographs did not do justice to her paintings.
Over the years she amassed eight volumes of botanical watercolours, some 1,700 illustrations, done in Tasmania and NSW between 1875 and 1910, which she hoped to publish. In this venture she was unsuccessful. In the end she sold her extensive collection to David Scott Mitchell, the founder of the Mitchell Library in NSW for 70 pounds.
“I let it go at the absurd price being too annoyed, & disheartened to trouble any more about the matter.”‘

Publishing details:

Location:

Close

Walker Anna Frances 1830-1913 botanical artist view full entry

Reference: see WALKER, Anna Frances (1830-1913); PERRY, George William (photographer)
Studio portrait of botanical artist Anna Frances Walker. Taken in Melbourne, circa 1865. [with Douglas Stewart Fine Books, August, 2022]

ster, Adela (1847-1932), taken in Launceston, Tasmania, 1864. Albumen print photograph, carte de visite format, 106 x 63 mm (mount); verso imprinted ‘W. Paul Dowling, Photographic Artist. Quadrant, Launceston’, and with a fully contemporary inscription in ink ‘Adela Russell Walker. Rhodes, 1864’ (the Walker family’s Van Diemen’s Land property, near Longford, was called Rhodes House); the print a little pale and with a couple of tiny marks.
A rare mid-1860s portrait photograph of one of the most significant Australian women artists of the nineteenth century, Anna (Annie) Frances Walker, of Rhodes (Sydney) and Longford, Tasmania. 
Another example of this studio portrait of the botanical artist and plant collector is held in a Walker family album in the Mitchell Library, Sydney.
From the Australian National Herbarium website:
Walker, Anna (Annie) Frances (1830-1913). Born in June, 1830, at Rhodes, the family home on Parramatta River, Concord, NSW. She died there in 1913. Her father Thomas Walker was deputy assistant Commissary General in charge of stores at Paramatta and Port Jackson; her mother Anna Elizabeth Blaxland belonged to the high society Blaxland family, famous for the explorer Gregory Blaxland. Her parents married in 1823 and took their young family to Van Diemen’s Land in 1832 to another family property.
Anna inherited her mother’s interest in botany and botanical illustration. When she was about 16 or 17 she spent about two years living with her grandmother at Newington, the Blaxland family’s home on the Parramatta River, who further encouraged her interest in botany. At Newington she received instruction in watercolour painting from Henry Curzon Allport (once a pupil of John Glover).
Thomas Walker died in 1861, and in 1870 the family returned permanently to Rhodes in Concord. Annie remained there with her two unmarried sisters for the rest of their lives. A few years after Anna appears to have begun exhibiting her artwork. In 1873 she submitted ten wildflower works to the NSW Academy of Art exhibition and the Agricultural Society’s show. That same year she won a gold medal in the London Internatiional Exhibitiion for her watercolours of Tasmanian flowers. When the Internatiional Exhibition was held in Sydney in 1879 her collection of wildflower paintings garnered her a ‘Highly Commended’.
In 1881 she sought and received help from Ferdinand von Mueller to annotate some of her paintings in an effort to have them published. In 1887, having had no luck with publishers, she self-funded the publication of Flowers of New South Wales, a small collection of her many flower paintings, perhaps intending to add further volumes if the venture was successful. The poor quality of the ten chromolithographs did not do justice to her paintings.
Over the years she amassed eight volumes of botanical watercolours, some 1,700 illustrations, done in Tasmania and NSW between 1875 and 1910, which she hoped to publish. In this venture she was unsuccessful. In the end she sold her extensive collection to David Scott Mitchell, the founder of the Mitchell Library in NSW for 70 pounds.
“I let it go at the absurd price being too annoyed, & disheartened to trouble any more about the matter.”‘

×

Walker Anna Frances 1830-1913 botanical artist

Reference: see WALKER, Anna Frances (1830-1913); PERRY, George William (photographer)
Studio portrait of botanical artist Anna Frances Walker. Taken in Melbourne, circa 1865. [with Douglas Stewart Fine Books, August, 2022]

ster, Adela (1847-1932), taken in Launceston, Tasmania, 1864. Albumen print photograph, carte de visite format, 106 x 63 mm (mount); verso imprinted ‘W. Paul Dowling, Photographic Artist. Quadrant, Launceston’, and with a fully contemporary inscription in ink ‘Adela Russell Walker. Rhodes, 1864’ (the Walker family’s Van Diemen’s Land property, near Longford, was called Rhodes House); the print a little pale and with a couple of tiny marks.
A rare mid-1860s portrait photograph of one of the most significant Australian women artists of the nineteenth century, Anna (Annie) Frances Walker, of Rhodes (Sydney) and Longford, Tasmania. 
Another example of this studio portrait of the botanical artist and plant collector is held in a Walker family album in the Mitchell Library, Sydney.
From the Australian National Herbarium website:
Walker, Anna (Annie) Frances (1830-1913). Born in June, 1830, at Rhodes, the family home on Parramatta River, Concord, NSW. She died there in 1913. Her father Thomas Walker was deputy assistant Commissary General in charge of stores at Paramatta and Port Jackson; her mother Anna Elizabeth Blaxland belonged to the high society Blaxland family, famous for the explorer Gregory Blaxland. Her parents married in 1823 and took their young family to Van Diemen’s Land in 1832 to another family property.
Anna inherited her mother’s interest in botany and botanical illustration. When she was about 16 or 17 she spent about two years living with her grandmother at Newington, the Blaxland family’s home on the Parramatta River, who further encouraged her interest in botany. At Newington she received instruction in watercolour painting from Henry Curzon Allport (once a pupil of John Glover).
Thomas Walker died in 1861, and in 1870 the family returned permanently to Rhodes in Concord. Annie remained there with her two unmarried sisters for the rest of their lives. A few years after Anna appears to have begun exhibiting her artwork. In 1873 she submitted ten wildflower works to the NSW Academy of Art exhibition and the Agricultural Society’s show. That same year she won a gold medal in the London Internatiional Exhibitiion for her watercolours of Tasmanian flowers. When the Internatiional Exhibition was held in Sydney in 1879 her collection of wildflower paintings garnered her a ‘Highly Commended’.
In 1881 she sought and received help from Ferdinand von Mueller to annotate some of her paintings in an effort to have them published. In 1887, having had no luck with publishers, she self-funded the publication of Flowers of New South Wales, a small collection of her many flower paintings, perhaps intending to add further volumes if the venture was successful. The poor quality of the ten chromolithographs did not do justice to her paintings.
Over the years she amassed eight volumes of botanical watercolours, some 1,700 illustrations, done in Tasmania and NSW between 1875 and 1910, which she hoped to publish. In this venture she was unsuccessful. In the end she sold her extensive collection to David Scott Mitchell, the founder of the Mitchell Library in NSW for 70 pounds.
“I let it go at the absurd price being too annoyed, & disheartened to trouble any more about the matter.”‘

Publishing details:

Location:

Close

Rae Iso 1860 - 1940view full entry

Reference: RAE, Iso (1860 - 1940), The Cook, Étaples, 1917 [with Douglas Stewart Fine Books, August, 2022]
Pastel, pencil and wash on cream paper, 23 x 12.5 cm, signed in ink lower left, inscribed in pencil lower centre ‘Cook at Canteen behind convent run by ‘Officer’s Club’ Mrs. Marcus Peterson’, framed.
Iso Rae was born in Melbourne in 1860 and trained at the National Gallery School alongside fellow students Rupert Bunny and John Longstaff from 1877 to 1887. In 1887 she moved to Paris with her mother and sister, before settling in 1890 in the artists’ colony at the fishing village of Étaples. She was a long term resident in the village, painting with fellow Australians Hilda Rix Nicholas and Rupert Bunny, exhibiting works in Australia as well as Europe. When war broke out in 1914 a number of artists fled to England, however Rae remained in Étaples, becoming (along with Jessie Traill) the only Australian woman artist to document wartime in France. Despite this, she was not selected as one of the sixteen official Australian War Artists during the First World War, in fact when assembled in 1918, no woman was represented in that group.
Since then, her work has been collected by a number of Australian museums, including the Australian War Memorial. Curator Betty Snowden observes:
‘In her drawings she uses black outlines filled with flat areas of colour, a post-impressionist technique reminiscent of some of the French poster artists of the late nineteenth century…The regular patterning of men, tents and buildings in many of the works suggests the control that was imposed by the vast machine of men and modern war. In many drawings there is a strong sense of waiting: waiting to move into battle, waiting for the war to end, waiting to be sent home.’ Betty Snowden, “Iso Rae in Étaples: another perspective of war”. Australian War Memorial. p. 37 https://www.awm.gov.au/sites/default/files/121426/files/isorae0.pdf
Intimate and direct, Iso Rae’s works rarely appear in the market, and are first hand impressions from an Australian woman of daily camp life during the First World War.

×

Rae Iso 1860 - 1940

Reference: RAE, Iso (1860 - 1940), The Cook, Étaples, 1917 [with Douglas Stewart Fine Books, August, 2022]
Pastel, pencil and wash on cream paper, 23 x 12.5 cm, signed in ink lower left, inscribed in pencil lower centre ‘Cook at Canteen behind convent run by ‘Officer’s Club’ Mrs. Marcus Peterson’, framed.
Iso Rae was born in Melbourne in 1860 and trained at the National Gallery School alongside fellow students Rupert Bunny and John Longstaff from 1877 to 1887. In 1887 she moved to Paris with her mother and sister, before settling in 1890 in the artists’ colony at the fishing village of Étaples. She was a long term resident in the village, painting with fellow Australians Hilda Rix Nicholas and Rupert Bunny, exhibiting works in Australia as well as Europe. When war broke out in 1914 a number of artists fled to England, however Rae remained in Étaples, becoming (along with Jessie Traill) the only Australian woman artist to document wartime in France. Despite this, she was not selected as one of the sixteen official Australian War Artists during the First World War, in fact when assembled in 1918, no woman was represented in that group.
Since then, her work has been collected by a number of Australian museums, including the Australian War Memorial. Curator Betty Snowden observes:
‘In her drawings she uses black outlines filled with flat areas of colour, a post-impressionist technique reminiscent of some of the French poster artists of the late nineteenth century…The regular patterning of men, tents and buildings in many of the works suggests the control that was imposed by the vast machine of men and modern war. In many drawings there is a strong sense of waiting: waiting to move into battle, waiting for the war to end, waiting to be sent home.’ Betty Snowden, “Iso Rae in Étaples: another perspective of war”. Australian War Memorial. p. 37 https://www.awm.gov.au/sites/default/files/121426/files/isorae0.pdf
Intimate and direct, Iso Rae’s works rarely appear in the market, and are first hand impressions from an Australian woman of daily camp life during the First World War.

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Howe George Government Printer, printed 1802-06view full entry

Reference: [EARLY SYDNEY PRINTING] Receipt for payment of quit rent made to the Crown by Edward Robinson. Sydney, 29 January 1806. [with Douglas Stewart Fine Books, August, 2022]
Sydney, NSW : [George Howe, Government Printer], [printed 1802-06]. Printed in black ink on laid paper, 40 x 98 mm; manuscript date of 29 January 1806, with further clerical entries recording the receipt from Edwd. Robinson of 11 shillings, ‘being the Amount of one Year’s Quit-Rent due to the Crown the 28th of Sept. 1805 on one Grant and one Lease.’; signed D.D. Mann (David Dickenson Mann, government clerk); complete and fine.
There can be little doubt that this official receipt from the Crown, made out to Edward Robinson for his (slightly overdue) annual quit rent payments for the year 1805, was printed by George Howe on the same wooden screw-press that had arrived with the First Fleet, and had been used by George Hughes to print the oldest known Australian imprints. It is an extremely early example of an ephemeral Australian printing, which could conceivably have been printed anywhere between 1802, when Howe was made Government Printer, and January 1806, when the receipt was dated and signed by Mann. Its diminutive size reflects the imperative to conserve the limited stocks of paper and ink in the fledgling colony.
GEORGE HOWE & EARLY PRINTING IN SYDNEY
George Howe (1771-1821) was the son of a government printer on Basseterre, Saint Christopher Island (Saint Kitts). As a young man he went to London and worked as a journeyman printer for The Times newspaper. In 1799 he was convicted of larceny and sentenced to death, but this was commuted to transportation for life to New South Wales. Howe arrived in Sydney in November 1800.
The first issue of Australia’s first newspaper, The Sydney Gazette, and New South Wales Advertiser, was published on Saturday, March 5, 1803, by Howe, who had been appointed Government Printer due to his experience working on the London Times. In a despatch to Lord Hobart dated May 9, 1803, Governor King refers to George Howe as an ‘ingenious man’ (Ferguson 383). Howe not only printed but was also the editor of the Gazette, although the content of the newspaper – published under the initiative of Governor King – was under strict government censorship. The paper was printed on a small wooden screw-press which had been brought to the colony by Arthur Phillip in the First Fleet, along with some metal type, paper and ink. (It would not be long before ink had to be improvised using local resources: a charcoal base mixed with fat, whale and fish oils, and tree resins). David Collins (Account of the English Colony in New South Wales) noted in November 1795 that a young printer, George Hughes, had used the press to print numerous government notices and orders. Copies of some of these ephemeral printed items are held in the Record Office, London (Ferguson, Foster & Green.The Howes and their Press, p 15). This almost certainly makes Hughes responsible for the very earliest Australian imprints (Ferguson, op. cit.), of which the oldest to have survived is a playbill dated 30 July 1796 (now in the National Library of Australia). George Howe used the same press to print the colony’s first book, The New South Wales General Standing Orders, in 1802 – probably confirming him as the colony’s second printer – and also its second, the first edition of the New South Wales pocket almanack and colonial remembrancer, in 1806. In May 1804 a complete set of new type had been brought from London, although it would not be until 1814 that a replacement for the wooden screw-press – a new iron Stanhope printing press, ordered by Governor Macquarie – would arrive.

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Howe George Government Printer, printed 1802-06

Reference: [EARLY SYDNEY PRINTING] Receipt for payment of quit rent made to the Crown by Edward Robinson. Sydney, 29 January 1806. [with Douglas Stewart Fine Books, August, 2022]
Sydney, NSW : [George Howe, Government Printer], [printed 1802-06]. Printed in black ink on laid paper, 40 x 98 mm; manuscript date of 29 January 1806, with further clerical entries recording the receipt from Edwd. Robinson of 11 shillings, ‘being the Amount of one Year’s Quit-Rent due to the Crown the 28th of Sept. 1805 on one Grant and one Lease.’; signed D.D. Mann (David Dickenson Mann, government clerk); complete and fine.
There can be little doubt that this official receipt from the Crown, made out to Edward Robinson for his (slightly overdue) annual quit rent payments for the year 1805, was printed by George Howe on the same wooden screw-press that had arrived with the First Fleet, and had been used by George Hughes to print the oldest known Australian imprints. It is an extremely early example of an ephemeral Australian printing, which could conceivably have been printed anywhere between 1802, when Howe was made Government Printer, and January 1806, when the receipt was dated and signed by Mann. Its diminutive size reflects the imperative to conserve the limited stocks of paper and ink in the fledgling colony.
GEORGE HOWE & EARLY PRINTING IN SYDNEY
George Howe (1771-1821) was the son of a government printer on Basseterre, Saint Christopher Island (Saint Kitts). As a young man he went to London and worked as a journeyman printer for The Times newspaper. In 1799 he was convicted of larceny and sentenced to death, but this was commuted to transportation for life to New South Wales. Howe arrived in Sydney in November 1800.
The first issue of Australia’s first newspaper, The Sydney Gazette, and New South Wales Advertiser, was published on Saturday, March 5, 1803, by Howe, who had been appointed Government Printer due to his experience working on the London Times. In a despatch to Lord Hobart dated May 9, 1803, Governor King refers to George Howe as an ‘ingenious man’ (Ferguson 383). Howe not only printed but was also the editor of the Gazette, although the content of the newspaper – published under the initiative of Governor King – was under strict government censorship. The paper was printed on a small wooden screw-press which had been brought to the colony by Arthur Phillip in the First Fleet, along with some metal type, paper and ink. (It would not be long before ink had to be improvised using local resources: a charcoal base mixed with fat, whale and fish oils, and tree resins). David Collins (Account of the English Colony in New South Wales) noted in November 1795 that a young printer, George Hughes, had used the press to print numerous government notices and orders. Copies of some of these ephemeral printed items are held in the Record Office, London (Ferguson, Foster & Green.The Howes and their Press, p 15). This almost certainly makes Hughes responsible for the very earliest Australian imprints (Ferguson, op. cit.), of which the oldest to have survived is a playbill dated 30 July 1796 (now in the National Library of Australia). George Howe used the same press to print the colony’s first book, The New South Wales General Standing Orders, in 1802 – probably confirming him as the colony’s second printer – and also its second, the first edition of the New South Wales pocket almanack and colonial remembrancer, in 1806. In May 1804 a complete set of new type had been brought from London, although it would not be until 1814 that a replacement for the wooden screw-press – a new iron Stanhope printing press, ordered by Governor Macquarie – would arrive.

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McInnes William Beckwithview full entry

Reference: William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index. [To be indexed fully - artists with only one reference in the book’s index have not yet been added to the Scheding Index].
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.

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McInnes William Beckwith

Reference: William Beckwith McInnes : an artist’s life, by Margot Tasca. With Index. [To be indexed fully - artists with only one reference in the book’s index have not yet been added to the Scheding Index].
‘The artist William Beckwith McInnes was a paragon of early 20th century Australian art, and the seven-time winner of the renowned Archibald Prize. An Artist’s Life is the first time his full story is being told.
Winner of the Art Gallery of New South Wales’ first four Archibald Prizes (1922 to 1925) – and several more thereafter – was Melbourne’s William Beckwith McInnes. With the Archibald wins, and then in his early 30s, McInnes was already an acclaimed landscape artist and had exhibited works painted in the British Isles, Spain and Morocco. After his Archibald successes he became, arguably, the country’s most sought-after portrait painter with official commissions to paint war heroes, prime ministers, lord mayors and other notables. In 1927 he was commissioned to paint the opening of Canberra’s new Parliament House and 1933 saw him in London painting The Duke of York who was soon to take the throne.
In 1904, at age 14, McInnes was enrolled at Melbourne’s National Gallery of Victoria Art School with the support of its occasionally controversial Director, L. Bernard Hall. McInnes’s later success was founded on the academic training received at the School which, very much of its time, taught traditional skills of drawing and pictorial composition. After art school he became an active member of the arts community, participating in painting trips with well known fellow artists and keeping abreast of new galleries and arts associations at a time when some knowledge of European Modernism was beginning to infiltrate the local culture. In 1916 he was appointed master of the Gallery’s Drawing School, replacing his former teacher Frederick McCubbin. Later he became Director of the Art School and acting-Director of the Gallery itself, thus faithfully maintaining his connection with the institution until his early death in 1939.
While not averse to the contemporary developments emanating from overseas, McInnes was intent on maintaining the School’s stellar reputation and equipping his students with the skills needed to succeed in a rapidly changing art world. It was a time of unavoidable unrest in the arts community, debates about Modernism escalated and controversies appeared in the press. McInnes was caught in a time of exponential change which could not be avoided and he handled it with care and equanimity as is attested by the wide range of artists and friends of that time whose views and opinions appear in the book.
Margot Tasca’s sympathetic, assiduously researched text, with numerous previously unpublished images, also traces the artist’s personal and family life. Married to fellow artist Violet McInnes in 1915, they had six children and lived an idyllic life alongside other artists in Melbourne’s Bohemian suburb of Alphington. With ‘movie-star’ looks and a kind and generous personality his story, which is not without tragedy, is now told in this important publication which hopefully sheds some new light on an occasionally misunderstood period of Australian art history.’

Publishing details: Thames & Hudson Australia Pty Ltd, 2022. Quarto, laminated boards, pp. 232, illustrated.

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Treasures : highlights of the cultural collections of the University of Melbourneview full entry

Reference: Treasures : highlights of the cultural collections of the University of Melbourne, Chris McAuliffe and Peter Yule, (editors). Includes within the extensive volume sections on the collections of fine art, antiquities, ethnographic art, rare books, manuscripts, early prints, decorative arts, scientific instruments and sculpture.

Publishing details: Melbourne : The Miegunyah Press, 2003. Quarto, boards in dustjacket (light handing wear), pp. 315, extensively illustrated.

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Treasures : highlights of the cultural collections of the University of Melbourne

Reference: Treasures : highlights of the cultural collections of the University of Melbourne, Chris McAuliffe and Peter Yule, (editors). Includes within the extensive volume sections on the collections of fine art, antiquities, ethnographic art, rare books, manuscripts, early prints, decorative arts, scientific instruments and sculpture.

Publishing details: Melbourne : The Miegunyah Press, 2003. Quarto, boards in dustjacket (light handing wear), pp. 315, extensively illustrated.

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Scully Seanview full entry

Reference: Sean Scully visited Australia and spent some time travelling in the Centre

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Scully Sean

Reference: Sean Scully visited Australia and spent some time travelling in the Centre

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Brash Barbaraview full entry

Reference: Barbara Brash—Holding Form, Geelong Art Gallery Exhibition. Saturday 25 June to Sunday 9 October 2022 
Barbara Brash was a key artist in Melbourne’s printmaking revival of the 1950s and ’60s. Her richly coloured and dynamic works convey a unique visual language built on experimentation and a proficiency across a multitude of printmaking techniques. Throughout her career Brash consistently tested the boundaries of the printed medium, often combining several printmaking processes in her works, and embracing the power and potential of abstract forms through the synthesis of colour, gesture and texture in her impressions of landscapes and the natural world. Bringing together woodcuts, linocuts, lithographs and screenprints from throughout the artist’s career, Barbara Brash—Holding Form provides an insight into the evolution of Brash’s innovative and expressive practice.

Publishing details: Geelong Art Gallery, 2022, [catalogue details to be entered]
Ref: 1000

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Brash Barbara

Reference: Barbara Brash—Holding Form, Geelong Art Gallery Exhibition. Saturday 25 June to Sunday 9 October 2022 
Barbara Brash was a key artist in Melbourne’s printmaking revival of the 1950s and ’60s. Her richly coloured and dynamic works convey a unique visual language built on experimentation and a proficiency across a multitude of printmaking techniques. Throughout her career Brash consistently tested the boundaries of the printed medium, often combining several printmaking processes in her works, and embracing the power and potential of abstract forms through the synthesis of colour, gesture and texture in her impressions of landscapes and the natural world. Bringing together woodcuts, linocuts, lithographs and screenprints from throughout the artist’s career, Barbara Brash—Holding Form provides an insight into the evolution of Brash’s innovative and expressive practice.

Publishing details: Geelong Art Gallery, 2022, [catalogue details to be entered]

Location: 1000

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Parke Trentview full entry

Reference: Trent Parke: The Black Rose. Catherine Hunter
Publishing details: DVD
Ref: 1000

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Parke Trent

Reference: Trent Parke: The Black Rose. Catherine Hunter

Publishing details: DVD

Location: 1000

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Sages Jennyview full entry

Reference: Jenny Sages: Paths to Portraiture, by Catherine Hunter
Publishing details: DVD
Ref: 1000

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Sages Jenny

Reference: Jenny Sages: Paths to Portraiture, by Catherine Hunter

Publishing details: DVD

Location: 1000

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Jarver Peterview full entry

Reference: The Top End of Down Under
Publishing details: Thunderhead Photographics, Darwin, 1988. Reprint. Square quarto hardcover; grey boards with black upper board and spine titling, grey endpapers; 118pp, colour plates.

Ref: 1000

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Jarver Peter

Reference: The Top End of Down Under

Publishing details: Thunderhead Photographics, Darwin, 1988. Reprint. Square quarto hardcover; grey boards with black upper board and spine titling, grey endpapers; 118pp, colour plates.

Location: 1000

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Swift Ianview full entry

Reference: Avant Guard Dogs: Sculptural Cartoons
Publishing details: Katoomba Fine Art, 2006. Quarto paperback; 60pp., colour illustrations.
Ref: 1000

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Swift Ian

Reference: Avant Guard Dogs: Sculptural Cartoons

Publishing details: Katoomba Fine Art, 2006. Quarto paperback; 60pp., colour illustrations.

Location: 1000

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Caporael Suzanne view full entry

Reference: see Heritage Auctions, Dallas, US, August, 2022, Lot 28002, Suzanne Caporael (American, b. 1974) Shoalhaven, New South Wales, from Salt Marsh Suite, 2003 Lithograph in colors with hand painting, pencil, chine collé on kozo paper 19-1/4 x 14 inches (48.9 x 35.6 cm) (sheet) Ed. 25/30 Signed, numbered and dated in pencil along lower edge Property from the G.E. Corporate Art Collection HID03101062020
Floated and framed under acrylic. Not examined out of frame. Presents well with no visible issues to note.
Framed Dimensions 26.5 X 21.5 Inches

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Caporael Suzanne

Reference: see Heritage Auctions, Dallas, US, August, 2022, Lot 28002, Suzanne Caporael (American, b. 1974) Shoalhaven, New South Wales, from Salt Marsh Suite, 2003 Lithograph in colors with hand painting, pencil, chine collé on kozo paper 19-1/4 x 14 inches (48.9 x 35.6 cm) (sheet) Ed. 25/30 Signed, numbered and dated in pencil along lower edge Property from the G.E. Corporate Art Collection HID03101062020
Floated and framed under acrylic. Not examined out of frame. Presents well with no visible issues to note.
Framed Dimensions 26.5 X 21.5 Inches

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Hinton Howardview full entry

Reference: Howard Hinton Memorial Exhibition. Catalogue for a memorial exhibition of works presented by the late Mr. Howard Hinton, O.B.E. to the National Art Gallery of New South Wales, Sydney, including some of the works bequeathed by him to the Teachers College, Armidale. Introduction by Lionel Lindsay.

Publishing details: Sydney: Thomas Henry Tennant, Government Printer, 1948. First Edition.
24cm x 18.5cm. 18 pages. Saddle-stapled wrappers.

Ref: 1009

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Hinton Howard

Reference: Howard Hinton Memorial Exhibition. Catalogue for a memorial exhibition of works presented by the late Mr. Howard Hinton, O.B.E. to the National Art Gallery of New South Wales, Sydney, including some of the works bequeathed by him to the Teachers College, Armidale. Introduction by Lionel Lindsay.

Publishing details: Sydney: Thomas Henry Tennant, Government Printer, 1948. First Edition.
24cm x 18.5cm. 18 pages. Saddle-stapled wrappers.

Location: 1009

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Howard Hinton Collectionview full entry

Reference: see Hinton Howard

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Howard Hinton Collection

Reference: see Hinton Howard

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Survey 6view full entry

Reference: Survey 6 Art Exhibition, Farmer's Blaxland Gallery.
Exhibition catalogue. Short biographies of the artists with list of works and prices. Featuring Frank Chavat, Ray Coles, Stan de Teliga, Stephen Earle, John Firth-Smith, Col Jordan, Mike Kitching, Elwyn Lynn, Rod Milgate, Ken Reinhard, Henry Salkauska, Peter Travis, Stephen Walker, Guy Warren, and Dick Watkins.


Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

Ref: 1000

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Survey 6

Reference: Survey 6 Art Exhibition, Farmer's Blaxland Gallery.
Exhibition catalogue. Short biographies of the artists with list of works and prices. Featuring Frank Chavat, Ray Coles, Stan de Teliga, Stephen Earle, John Firth-Smith, Col Jordan, Mike Kitching, Elwyn Lynn, Rod Milgate, Ken Reinhard, Henry Salkauska, Peter Travis, Stephen Walker, Guy Warren, and Dick Watkins.

Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

Location: 1000

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Chavat Frank view full entry

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.
Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Chavat Frank

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.

Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Coles Ray view full entry

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.
Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Coles Ray

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.

Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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de Teliga Stan view full entry

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.
Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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de Teliga Stan

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.

Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Earle Stephenview full entry

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.
Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Earle Stephen

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.

Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Firth-Smith John view full entry

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.
Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Firth-Smith John

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.

Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Col Jordanview full entry

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.
Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Col Jordan

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.

Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Mike Kitchingview full entry

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.
Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Mike Kitching

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.

Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Elwyn Lynnview full entry

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.
Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Elwyn Lynn

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.

Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Milgate Rod view full entry

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.
Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Milgate Rod

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.

Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Reinhard Ken view full entry

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.
Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Reinhard Ken

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.

Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Salkauska Henry view full entry

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.
Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Salkauska Henry

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.

Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Travis Peter view full entry

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.
Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Travis Peter

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.

Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Walker Stephen view full entry

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.
Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Walker Stephen

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.

Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Warren Guy view full entry

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.
Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Warren Guy

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.

Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Watkins Dick

view full entry

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.
Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Watkins Dick

Reference: see 6 Art Exhibition, Farmer's Blaxland Gallery. Exhibition catalogue. Short biographies of the artists with list of works and prices.

Publishing details: Sydney: Farmer's Blaxland Gallery, 1966. [8] pages. Saddle-stapled wrappers.

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Newton Helmut view full entry

Reference: Us and Them. Helmut Newton; Alice Spring.
Publishing details: Zurich, Berlin and New York: Scalo, 1999. 199 pages, black and white illustrations. Black papered boards, gray lettering, pictorial jacket.
Ref: 1000

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Newton Helmut

Reference: Us and Them. Helmut Newton; Alice Spring.

Publishing details: Zurich, Berlin and New York: Scalo, 1999. 199 pages, black and white illustrations. Black papered boards, gray lettering, pictorial jacket.

Location: 1000

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The Scoreview full entry

Reference: The Score. By Jacqueline Doughty
A cross-disciplinary exhibition of visual art, dance, music and vocal performance. Artists and performers include: Pia Borg, John Cage, Roy de Maistre, Fayen d'Evie, Marco Fusinato, Charles Gaines, Kurltjunyintja Jackie Giles, Michaela Gleave, Agatha Gothe-Snape, Nathan Gray, Helen Grogan, Ludwig Hirschfeld-Mack, Yuki Kihara, Emily Kam Kngwarray, Shelley Lasica, Sonia Leber & David Chesworth, Dylan Martorell, Angelica Mesiti, John Nixon, Sandra Parker & Rhian Hinkley, Rammey Ramsey, Mia Salsjo, Charlie Sofo, Sriwhana Spong, Christine Sun Kim & Thomas Mader, Danae Valenza, and Jude Walton.

Publishing details: Melbourne: The Ian Potter Museum of Art, 2017. 90 pages, colour illustrations. Illustrated wrappers.

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The Score

Reference: The Score. By Jacqueline Doughty
A cross-disciplinary exhibition of visual art, dance, music and vocal performance. Artists and performers include: Pia Borg, John Cage, Roy de Maistre, Fayen d'Evie, Marco Fusinato, Charles Gaines, Kurltjunyintja Jackie Giles, Michaela Gleave, Agatha Gothe-Snape, Nathan Gray, Helen Grogan, Ludwig Hirschfeld-Mack, Yuki Kihara, Emily Kam Kngwarray, Shelley Lasica, Sonia Leber & David Chesworth, Dylan Martorell, Angelica Mesiti, John Nixon, Sandra Parker & Rhian Hinkley, Rammey Ramsey, Mia Salsjo, Charlie Sofo, Sriwhana Spong, Christine Sun Kim & Thomas Mader, Danae Valenza, and Jude Walton.

Publishing details: Melbourne: The Ian Potter Museum of Art, 2017. 90 pages, colour illustrations. Illustrated wrappers.

Location: 0

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Neish Edithview full entry

Reference: see CAPRICORNIA QUEENSLAND: A HERITAGE SKETCHBOOK, Edith Neish; Lorna McDonald

Publishing details: Rockhampton: Central Queensland University Press, 2001. [viii], 152 pages, black and white illustrations. Illustrated wrappers.

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Neish Edith

Reference: see CAPRICORNIA QUEENSLAND: A HERITAGE SKETCHBOOK, Edith Neish; Lorna McDonald

Publishing details: Rockhampton: Central Queensland University Press, 2001. [viii], 152 pages, black and white illustrations. Illustrated wrappers.

Location:

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McDonald Lornaview full entry

Reference: see CAPRICORNIA QUEENSLAND: A HERITAGE SKETCHBOOK, Edith Neish; Lorna McDonald

Publishing details: Rockhampton: Central Queensland University Press, 2001. [viii], 152 pages, black and white illustrations. Illustrated wrappers.

×

McDonald Lorna

Reference: see CAPRICORNIA QUEENSLAND: A HERITAGE SKETCHBOOK, Edith Neish; Lorna McDonald

Publishing details: Rockhampton: Central Queensland University Press, 2001. [viii], 152 pages, black and white illustrations. Illustrated wrappers.

Location:

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CAPRICORNIA QUEENSLAND: A HERITAGE SKETCHBOOKview full entry

Reference: CAPRICORNIA QUEENSLAND: A HERITAGE SKETCHBOOK, Edith Neish; Lorna McDonald

Publishing details: Rockhampton: Central Queensland University Press, 2001. [viii], 152 pages, black and white illustrations. Illustrated wrappers.

Ref: 1000

×

CAPRICORNIA QUEENSLAND: A HERITAGE SKETCHBOOK

Reference: CAPRICORNIA QUEENSLAND: A HERITAGE SKETCHBOOK, Edith Neish; Lorna McDonald

Publishing details: Rockhampton: Central Queensland University Press, 2001. [viii], 152 pages, black and white illustrations. Illustrated wrappers.

Location: 1000

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Ciccarone Juliaview full entry

Reference: Julia Ciccarone - Between Worlds
Publishing details: Melbourne: Niagara Galleries, 2018. 32 pages, colour illustrations. Illustrated saddle-stapled wrappers.

Ref: 1000

×

Ciccarone Julia

Reference: Julia Ciccarone - Between Worlds

Publishing details: Melbourne: Niagara Galleries, 2018. 32 pages, colour illustrations. Illustrated saddle-stapled wrappers.

Location: 1000

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Dominguez Nelsonview full entry

Reference: Nelson Dominguez, by Manuel Lopez Oliva

Publishing details: Sydney: Craftsman House, 1998.168 pages, colour illustrations. Gray cloth, silver lettering, illustrated french fold jacket.

Ref: 1000

×

Dominguez Nelson

Reference: Nelson Dominguez, by Manuel Lopez Oliva

Publishing details: Sydney: Craftsman House, 1998.168 pages, colour illustrations. Gray cloth, silver lettering, illustrated french fold jacket.

Location: 1000

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Figueiredo Marta (b. 1979)view full entry

Reference: Marta Figueiredo, exhibition at FINKELSTEIN GALLERY.
Marta Figueiredo (b. 1979) is a Portuguese architect & multidisciplinary artist based in NAARM/Melbourne. In 2016, she founded her design practice which unites innovative technology and craft to produce playfulness, joy, and sensory experimentation.

With her works she wants to challenge beliefs about standardisation, sustainability, and prompt discussions about new ways design can speak to a broader sensory experience.
With this approach, she’s pushing into a new kind of artistic expression in design that aims to instigate a richer, more layered interaction between individual and object - one that has the potential to be different for each person, depending on the particularities of their mind and body.

Marta is motivated by a desire to challenge the notion of design and find alternatives to irresponsible mass production and the concept of the "average individual" as a consumer.
Marta has received various awards (High Commendation Clarence Prize for Excellence in Furniture Design 2021, Fringe Furniture Experimental Design Award 2018) and nominations for several others (Finalist Australian Furniture Design Award (AFDA) 2020).

Her works have been included in a number of shows both in Australia and abroad, including Shanghai, Paris, the Brussels Collectible Fair, and Milan Design Week and collections (Metaphores - Hermès Holding Textiles).

“What if the practical objects in our lives could engage us playfully, kindly, lovingly? Reminding us of our brighter, lighter, more childlike selves through their very function?”


The Elementary Abacus offers a new kind of inclusive sensory experience, while featuring familiar references and performing everyday functionality. Keeping visual and physical experimentation at the forefront of the design process, the Elementary Abacus embodies the desire to see more designs that induce a state of ‘openness to experience’- design that caters to everyone, regardless of their sensory abilities. A piece that challenges standardisation and speaks of product design’s potential to feature more sensory richness, traditional craftspersonship and modern technologies, without environmental compromise.

The Elementary Abacus has components that have to be moved along a tubular arch to enable one of the two integrated tables to be used. One of them is a coffee table, and the other is a counter-height cocktail table. The beads are covered in seductive colours and textures: velvety burgundy flocking, glossy sorbet looking lacquer, heavenly glow 24 carat gold leaf, red and pearl white 3Ddimensional hand stitched wool fabric and braille bumps, to captivate and invite people to touch, to enjoyment.
-Marta Figueiredo
Publishing details: FINKELSTEIN GALLERY, 2022.
Ref: 1000

×

Figueiredo Marta (b. 1979)

Reference: Marta Figueiredo, exhibition at FINKELSTEIN GALLERY.
Marta Figueiredo (b. 1979) is a Portuguese architect & multidisciplinary artist based in NAARM/Melbourne. In 2016, she founded her design practice which unites innovative technology and craft to produce playfulness, joy, and sensory experimentation.

With her works she wants to challenge beliefs about standardisation, sustainability, and prompt discussions about new ways design can speak to a broader sensory experience.
With this approach, she’s pushing into a new kind of artistic expression in design that aims to instigate a richer, more layered interaction between individual and object - one that has the potential to be different for each person, depending on the particularities of their mind and body.

Marta is motivated by a desire to challenge the notion of design and find alternatives to irresponsible mass production and the concept of the "average individual" as a consumer.
Marta has received various awards (High Commendation Clarence Prize for Excellence in Furniture Design 2021, Fringe Furniture Experimental Design Award 2018) and nominations for several others (Finalist Australian Furniture Design Award (AFDA) 2020).

Her works have been included in a number of shows both in Australia and abroad, including Shanghai, Paris, the Brussels Collectible Fair, and Milan Design Week and collections (Metaphores - Hermès Holding Textiles).

“What if the practical objects in our lives could engage us playfully, kindly, lovingly? Reminding us of our brighter, lighter, more childlike selves through their very function?”


The Elementary Abacus offers a new kind of inclusive sensory experience, while featuring familiar references and performing everyday functionality. Keeping visual and physical experimentation at the forefront of the design process, the Elementary Abacus embodies the desire to see more designs that induce a state of ‘openness to experience’- design that caters to everyone, regardless of their sensory abilities. A piece that challenges standardisation and speaks of product design’s potential to feature more sensory richness, traditional craftspersonship and modern technologies, without environmental compromise.

The Elementary Abacus has components that have to be moved along a tubular arch to enable one of the two integrated tables to be used. One of them is a coffee table, and the other is a counter-height cocktail table. The beads are covered in seductive colours and textures: velvety burgundy flocking, glossy sorbet looking lacquer, heavenly glow 24 carat gold leaf, red and pearl white 3Ddimensional hand stitched wool fabric and braille bumps, to captivate and invite people to touch, to enjoyment.
-Marta Figueiredo

Publishing details: FINKELSTEIN GALLERY, 2022.

Location: 1000

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Mosman Art Prize 1947-1996 Theview full entry

Reference: The Mosman Art Prize 1947-1996, Pamela Bell; Allan Gamble.
The collector's copy, limited to 5 hand assembled and numbered copies, of which this is number 4, illustrating, in colour, each year's winner of the Mosman Art Prize starting with Margaret Olley in 1947 through to Elizabeth Cummings in 1996 published on the eve of the 50th year of the prize. Foreword by Virginia Howard, Mayor of Mosman, introductory essays by Pamela Bell and Allan Gamble.
Publishing details: [Sydney]: [Pamela Bell and Allan Gamble], [1997].
Collector's Edition. Signed by Author
30.5cm x 21cm. [90], [2] pages, colour illustrations. Bonded leather.

Ref: 1009

×

Mosman Art Prize 1947-1996 The

Reference: The Mosman Art Prize 1947-1996, Pamela Bell; Allan Gamble.
The collector's copy, limited to 5 hand assembled and numbered copies, of which this is number 4, illustrating, in colour, each year's winner of the Mosman Art Prize starting with Margaret Olley in 1947 through to Elizabeth Cummings in 1996 published on the eve of the 50th year of the prize. Foreword by Virginia Howard, Mayor of Mosman, introductory essays by Pamela Bell and Allan Gamble.

Publishing details: [Sydney]: [Pamela Bell and Allan Gamble], [1997].
Collector's Edition. Signed by Author
30.5cm x 21cm. [90], [2] pages, colour illustrations. Bonded leather.

Location: 1009

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Gibson Bessie view full entry

Reference: Bessie Gibson, 1868-1961.
Publishing details: Brisbane: Philip Bacon Galleries, 2001. [8] pages, colour illustrations. Illustrated saddle-stapled self- wrappers.
Exhibition catalogue. Price list laid in.

Ref: 1009

×

Gibson Bessie

Reference: Bessie Gibson, 1868-1961.

Publishing details: Brisbane: Philip Bacon Galleries, 2001. [8] pages, colour illustrations. Illustrated saddle-stapled self- wrappers.
Exhibition catalogue. Price list laid in.

Location: 1009

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War and Peace: 200 Years of Australian-German Artistic Relationsview full entry

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 


Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

×

War and Peace: 200 Years of Australian-German Artistic Relations

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 

Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

Location:

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German Australian Artistic Relationsview full entry

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 


Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

×

German Australian Artistic Relations

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 

Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

Location:

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von Guérard Eugene view full entry

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 


Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

×

von Guérard Eugene

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 

Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

Location:

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Ostoja-Kotkowski Stanislaus view full entry

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 


Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

×

Ostoja-Kotkowski Stanislaus

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 

Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

Location:

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Lange Eleanore view full entry

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 


Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

×

Lange Eleanore

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 

Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

Location:

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Hirschfeld-Mack Ludwig view full entry

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 


Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

×

Hirschfeld-Mack Ludwig

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 

Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

Location:

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Frankel Tilli view full entry

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 


Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

×

Frankel Tilli

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 

Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

Location:

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Scharf Theoview full entry

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 


Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

×

Scharf Theo

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 

Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

Location:

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Friederberger Klaus view full entry

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 


Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

×

Friederberger Klaus

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 

Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

Location:

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Fabian Erwin view full entry

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 


Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

×

Fabian Erwin

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 

Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

Location:

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Kaiser Peter view full entry

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 


Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

×

Kaiser Peter

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 

Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

Location:

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Heckroth Hein view full entry

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 


Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

×

Heckroth Hein

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 

Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

Location:

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Moore Alan view full entry

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 


Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

×

Moore Alan

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 

Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

Location:

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Feuerring Maximilian view full entry

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 


Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

×

Feuerring Maximilian

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 

Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

Location:

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Sellbach Udo view full entry

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 


Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

×

Sellbach Udo

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 

Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

Location:

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Feddersen Jutta view full entry

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 


Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

×

Feddersen Jutta

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 

Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

Location:

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Hoppé E Oview full entry

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 


Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

×

Hoppé E O

Reference: See War and Peace: 200 Years of Australian-German Artistic Relations, BY Butler, Rex; Donaldson, A D S. 

Publishing details: Electronic Melbourne Art Journal, Iss. 8,  (2014/2015): P1-24.

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Melbourne Savage Clubview full entry

Reference: A Social-cultural reading: the Melbourne Savage Club through its collections. By Graeme H. Williams FRMIT (Arch), M. Bus. (Property) Grad Dip (Real Estate Development and Investment)
Submitted in total fulfilment of the requirements for the degree of
Masters of Arts (by Thesis only)
Publishing details: Faculty of Arts & Education
School of Communication and Creative Arts Deakin University
May 2013
Ref: 1000

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Melbourne Savage Club

Reference: A Social-cultural reading: the Melbourne Savage Club through its collections. By Graeme H. Williams FRMIT (Arch), M. Bus. (Property) Grad Dip (Real Estate Development and Investment)
Submitted in total fulfilment of the requirements for the degree of
Masters of Arts (by Thesis only)

Publishing details: Faculty of Arts & Education
School of Communication and Creative Arts Deakin University
May 2013

Location: 1000

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Nolan Sidneyview full entry

Reference: Sidney Nolan - The Heide Years, 1938-1947, Bonhams auction, Sydney, 23 AUGUST 2022.
In the opinion of the late Edmund Capon, director of the Art Gallery of New South Wales, 'Nolan is the best known, the most familiar, name in the history of modern Australian art'. Nolan's first decade as an artist has had more written about it than any other period of his career. The story is of ground-breaking art and a tangled love affair, a story as intriguing and captivating as that of the Bloomsbury Group in England or of Peggy Guggenheim in Venice. Nolan's abstracts, such as Boy and the Moon, often called Moonboy (now in the National Gallery of Australia), scandalised contemporary reviewers and artists; his St Kilda images combined contemporary international iconography with the tawdry imagery of his spent youth; the Wimmera series redefined the depiction of the Australian landscape, the first significant shift since Arthur Streeton and Tom Roberts in the 1880s; and, of course, the Ned Kelly series that has made him Australia's most famous artist outside this country. The enduring influence on this pioneering work was the house called Heide and his relationship with its owners, John and Sunday Reed. One of the most famous storeys in Australian art history began as Nolan turned twenty-one, the son of a tram driver, determined to make a name for himself as a radical modern artist. It ended when he was thirty, his Ned Kelly series just completed, with a one-way flight away from the Reeds, from Heide, and ultimately from Australia.
In 1938, when Nolan first met John and Sunday Reed at Heide, he was almost unknown in the art world. After practical training in the Department of Design and Crafts at Prahran Technical College and some classes at the National Gallery School, he developed his skills in the art department at Fayrefield Hats, designing shop displays and advertising. However, his outlook was anything but parochial or commercial, and his objective then was to move to Europe to paint. Nolan's earliest paintings date to the summer of 1936-37, three landscapes painted in the Kiewa Valley (see lot 1) that suggest familiarity with van Gogh and European Post-Impressionism. A few months later, on an infamous trip to Selby near Melbourne, he produced three more, this time influenced, it appears, by Paul Klee and other European contemporaries (see lot 3). After his attempt to stow away aboard a ship failed dismally, he bluffed his way into the office of Sir Keith Murdoch in the hope of being awarded an overseas travel scholarship. He took a folio of experimental abstract drawings (such as lot 5), to which Sir Keith responded well, referring him to the newspaper's art critic Basil Burdett. The latter turned him down for a scholarship but recommended he contact John and Sunday Reed, prominent patrons of contemporary art.
John Reed, a Cambridge-educated lawyer of Tasmanian pastoralist heritage, married cosmopolitan Sunday Baillieu, of the prominent Melbourne family, in 1932. Two years later, they bought the house and land on Melbourne's eastern fringe that became known as Heide and there, they threw their energy into nurturing the arts. When Nolan entered their orbit, a new world of opportunity opened to him: the company and conversation of intellectual and influential friends, access to the Reed's library of art, Literature, and poetry, and, in due course, financial support that allowed him to focus on his art. Other young artists also congregated around the Reeds, including Albert Tucker, John Perceval, Joy Hester, and Arthur Boyd – a group known today as The Angry Penguins. But, as is well known, Nolan's relationship with the Reeds assumed even greater intimacy and complexity when he and Sunday became lovers, apparently with John's knowledge. The affair ended Nolan's marriage to Elizabeth Patterson in 1941, and he moved to Heide, leaving behind his infant daughter, Amelda. Sunday became his muse, collaborator, and studio assistant, while John's influence in art circles and publishing made connections for him and opened doors.
Nolan's art evolved continually after his first meeting with the Reeds, and with their encouragement during 1938-39, he worked assiduously developing abstraction, a rarity in Australia then. He even attracted mild controversy at the recently formed Contemporary Art Society (of which John Reed was vice-president) when he exhibited Head of Rimbaud, an experimental abstract that challenged at least one fellow artist (see lots 5 to 12 for other abstract works dating to 1937-39). From this period emerged a language of repeated symbols associated with his adolescent haunts around St Kilda conflated with images derived from his interpretation of poetry and Literature. These attracted the attention of Serge Lifar, choreographer of the Ballets Russes, then performing in Australia, who, in early 1940, commissioned him to design the sets and costumes for his radical ballet, Icare. Nolan received prominent national press coverage and a standing ovation at the Sydney premiere, and, in a way, this served as his own public debut. (see lots 14-19). Encouraged by the success, he held his first solo exhibition that winter in his Russell Street studio showing works from the previous three years taped or pinned to the shocking pink walls. After Amelda's birth in 1941 and the start of his new relationship, his art took a gentler turn with richly coloured images of angels, girls with flowers, the Garden of Eden, and further development of his Luna Park theme (see lots 23-27). In early 1942 in the weeks before Nolan's military conscription, Sunday turned the debate at Heide to the possibility of reinventing Australian landscape painting. Nolan's attention shifted dramatically, and over two months, he began his first experiments using a flattened perspective and, in some, an almost childlike use of colour to depict the country around Heide and the urban landscape of St Kilda. In an interview decades later, Nolan said he had a soft spot for these works and kept them under his painting table. Following their exhibition in 2017-18, this auction is the first to include a group of them (see lots 23, 24, 25, 29, 30, 31, 32). Experiments with landscapes became Nolan's focus during his military service. The Wimmera series, named after the district in western Victoria, where he was stationed, is regarded as some of his most important work (see lots 37, 39 and 40). The great majority of these works are now in public collections.
Throughout his time in the army, Nolan was in constant contact by letter and telephone with Sunday and John; Sunday visited him when she could, and Heide remained his home when he was on leave. In 1944, fearing that he was about to be sent on active service overseas, Nolan failed to report for duty, assumed a false name, and went into hiding, moving between a friend's loft in Parkville and Heide. During this period as a fugitive, his painting assumed new, anxious energy and rawness seen in works such as Beach, painted in December that year (see lot 41). It also led him in 1945 to start painting the story of another outlaw, Ned Kelly. It is easy to forget that the Kelly series comprises so much more than the iconic group of paintings dating from 1946-47 now hanging at the National Gallery of Australia and that there are other works depicting additional episodes in the narrative (see lots 46 and 47).
The most enigmatic painting in this auction is Figure and Angel (see lot 43), which hung over the mantelpiece at Nolan's home for years. It is dated February 1946, days before Nolan painted the first of the Kelly works now at the National Gallery of Australia. Today we see a vertical painting of a figure that Mary Nolan, his widow, told me was Saint Joseph of Arimathea, walking away from us, leaning on a heavy staff and an angel flying above the rocky landscape. But turn the painting anticlockwise, so it is horizontal, and it becomes evident that Nolan painted over another work soon after its completion, making use of the original work to form new patterns: floral wallpaper can be seen, like that in Sunday's bedroom, and so too can the outline of a bentwood chair, both of which feature in one of the most famous Kelly paintings, Constable Fitzpatrick and Kate Kelly (the 1945 version is in the collection of the National Gallery of Victoria; the larger 1946 version is in the collection of the National Gallery of Australia). Does the staff look like the metal barrel of a rifle? And what is the applique square shape under the top paint layer? Further investigation may determine what lies beneath.
The turmoil depicted in the Kelly series mirrored the turmoil in Nolan's life. He was thirty, his relationship with John and Sunday was increasingly fraught, he still had not travelled, nor had he sold a single picture in a commercial exhibition. The last Kelly painting from this era was painted in July 1947, and a few days later, 75 years ago, he left Heide and the Reeds behind forever.
Mark Fraser, 
The Estate of Lady Nolan
Publishing details: Bonhams, 2022
Ref: 1000

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Nolan Sidney

Reference: Sidney Nolan - The Heide Years, 1938-1947, Bonhams auction, Sydney, 23 AUGUST 2022.
In the opinion of the late Edmund Capon, director of the Art Gallery of New South Wales, 'Nolan is the best known, the most familiar, name in the history of modern Australian art'. Nolan's first decade as an artist has had more written about it than any other period of his career. The story is of ground-breaking art and a tangled love affair, a story as intriguing and captivating as that of the Bloomsbury Group in England or of Peggy Guggenheim in Venice. Nolan's abstracts, such as Boy and the Moon, often called Moonboy (now in the National Gallery of Australia), scandalised contemporary reviewers and artists; his St Kilda images combined contemporary international iconography with the tawdry imagery of his spent youth; the Wimmera series redefined the depiction of the Australian landscape, the first significant shift since Arthur Streeton and Tom Roberts in the 1880s; and, of course, the Ned Kelly series that has made him Australia's most famous artist outside this country. The enduring influence on this pioneering work was the house called Heide and his relationship with its owners, John and Sunday Reed. One of the most famous storeys in Australian art history began as Nolan turned twenty-one, the son of a tram driver, determined to make a name for himself as a radical modern artist. It ended when he was thirty, his Ned Kelly series just completed, with a one-way flight away from the Reeds, from Heide, and ultimately from Australia.
In 1938, when Nolan first met John and Sunday Reed at Heide, he was almost unknown in the art world. After practical training in the Department of Design and Crafts at Prahran Technical College and some classes at the National Gallery School, he developed his skills in the art department at Fayrefield Hats, designing shop displays and advertising. However, his outlook was anything but parochial or commercial, and his objective then was to move to Europe to paint. Nolan's earliest paintings date to the summer of 1936-37, three landscapes painted in the Kiewa Valley (see lot 1) that suggest familiarity with van Gogh and European Post-Impressionism. A few months later, on an infamous trip to Selby near Melbourne, he produced three more, this time influenced, it appears, by Paul Klee and other European contemporaries (see lot 3). After his attempt to stow away aboard a ship failed dismally, he bluffed his way into the office of Sir Keith Murdoch in the hope of being awarded an overseas travel scholarship. He took a folio of experimental abstract drawings (such as lot 5), to which Sir Keith responded well, referring him to the newspaper's art critic Basil Burdett. The latter turned him down for a scholarship but recommended he contact John and Sunday Reed, prominent patrons of contemporary art.
John Reed, a Cambridge-educated lawyer of Tasmanian pastoralist heritage, married cosmopolitan Sunday Baillieu, of the prominent Melbourne family, in 1932. Two years later, they bought the house and land on Melbourne's eastern fringe that became known as Heide and there, they threw their energy into nurturing the arts. When Nolan entered their orbit, a new world of opportunity opened to him: the company and conversation of intellectual and influential friends, access to the Reed's library of art, Literature, and poetry, and, in due course, financial support that allowed him to focus on his art. Other young artists also congregated around the Reeds, including Albert Tucker, John Perceval, Joy Hester, and Arthur Boyd – a group known today as The Angry Penguins. But, as is well known, Nolan's relationship with the Reeds assumed even greater intimacy and complexity when he and Sunday became lovers, apparently with John's knowledge. The affair ended Nolan's marriage to Elizabeth Patterson in 1941, and he moved to Heide, leaving behind his infant daughter, Amelda. Sunday became his muse, collaborator, and studio assistant, while John's influence in art circles and publishing made connections for him and opened doors.
Nolan's art evolved continually after his first meeting with the Reeds, and with their encouragement during 1938-39, he worked assiduously developing abstraction, a rarity in Australia then. He even attracted mild controversy at the recently formed Contemporary Art Society (of which John Reed was vice-president) when he exhibited Head of Rimbaud, an experimental abstract that challenged at least one fellow artist (see lots 5 to 12 for other abstract works dating to 1937-39). From this period emerged a language of repeated symbols associated with his adolescent haunts around St Kilda conflated with images derived from his interpretation of poetry and Literature. These attracted the attention of Serge Lifar, choreographer of the Ballets Russes, then performing in Australia, who, in early 1940, commissioned him to design the sets and costumes for his radical ballet, Icare. Nolan received prominent national press coverage and a standing ovation at the Sydney premiere, and, in a way, this served as his own public debut. (see lots 14-19). Encouraged by the success, he held his first solo exhibition that winter in his Russell Street studio showing works from the previous three years taped or pinned to the shocking pink walls. After Amelda's birth in 1941 and the start of his new relationship, his art took a gentler turn with richly coloured images of angels, girls with flowers, the Garden of Eden, and further development of his Luna Park theme (see lots 23-27). In early 1942 in the weeks before Nolan's military conscription, Sunday turned the debate at Heide to the possibility of reinventing Australian landscape painting. Nolan's attention shifted dramatically, and over two months, he began his first experiments using a flattened perspective and, in some, an almost childlike use of colour to depict the country around Heide and the urban landscape of St Kilda. In an interview decades later, Nolan said he had a soft spot for these works and kept them under his painting table. Following their exhibition in 2017-18, this auction is the first to include a group of them (see lots 23, 24, 25, 29, 30, 31, 32). Experiments with landscapes became Nolan's focus during his military service. The Wimmera series, named after the district in western Victoria, where he was stationed, is regarded as some of his most important work (see lots 37, 39 and 40). The great majority of these works are now in public collections.
Throughout his time in the army, Nolan was in constant contact by letter and telephone with Sunday and John; Sunday visited him when she could, and Heide remained his home when he was on leave. In 1944, fearing that he was about to be sent on active service overseas, Nolan failed to report for duty, assumed a false name, and went into hiding, moving between a friend's loft in Parkville and Heide. During this period as a fugitive, his painting assumed new, anxious energy and rawness seen in works such as Beach, painted in December that year (see lot 41). It also led him in 1945 to start painting the story of another outlaw, Ned Kelly. It is easy to forget that the Kelly series comprises so much more than the iconic group of paintings dating from 1946-47 now hanging at the National Gallery of Australia and that there are other works depicting additional episodes in the narrative (see lots 46 and 47).
The most enigmatic painting in this auction is Figure and Angel (see lot 43), which hung over the mantelpiece at Nolan's home for years. It is dated February 1946, days before Nolan painted the first of the Kelly works now at the National Gallery of Australia. Today we see a vertical painting of a figure that Mary Nolan, his widow, told me was Saint Joseph of Arimathea, walking away from us, leaning on a heavy staff and an angel flying above the rocky landscape. But turn the painting anticlockwise, so it is horizontal, and it becomes evident that Nolan painted over another work soon after its completion, making use of the original work to form new patterns: floral wallpaper can be seen, like that in Sunday's bedroom, and so too can the outline of a bentwood chair, both of which feature in one of the most famous Kelly paintings, Constable Fitzpatrick and Kate Kelly (the 1945 version is in the collection of the National Gallery of Victoria; the larger 1946 version is in the collection of the National Gallery of Australia). Does the staff look like the metal barrel of a rifle? And what is the applique square shape under the top paint layer? Further investigation may determine what lies beneath.
The turmoil depicted in the Kelly series mirrored the turmoil in Nolan's life. He was thirty, his relationship with John and Sunday was increasingly fraught, he still had not travelled, nor had he sold a single picture in a commercial exhibition. The last Kelly painting from this era was painted in July 1947, and a few days later, 75 years ago, he left Heide and the Reeds behind forever.
Mark Fraser, 
The Estate of Lady Nolan

Publishing details: Bonhams, 2022

Location: 1000

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Grist Eleanor (Nellie) (1871-1957)
view full entry

Reference: see Bonhams, Important Australian Art, 23 August 2022, Sydney, lot 55:
Eleanor (Nellie) Grist (1871-1957)
Weary, 1894
signed and dated lower right: 'N. Grist / 1894'
oil on canvas
91.5 x 71.0cm (36 x 27 15/16in).
Frame: Original, Isaac Whitehead, Melbourne
Footnotes
PROVENANCE
Private collection, Melbourne
thence by descent
Private collection, Melbourne

Eleanor 'Nellie' Beatrice Grist (1871-1957) was studying at the National Gallery School in Melbourne from 1894-1895 when the present work was executed. Little is documented of the artist. In the early 1890s she was known to have painted portraits in oils and subsequently was better recognized as a teacher and practitioner of porcelain painting in Melbourne. Active from the 1890s through to the 1940s, Grist was a member of the Melbourne Society of Women Painters and Sculptors between 1912-1920.

The connection with her friend and colleague, Florence Fuller and her original painting Weary, 1888, now in the collection of the Art Gallery of New South Wales, Sydney, is unknown. However, for centuries it has been common practice for students to copy the works of established artists as part of their training. 

Housed in an original Isaac Whitehead frame, Whitehead was the preeminent frame maker in Melbourne supplying frames to many established artists such as Eugene von Guerard, Nicholas Chevalier and Louise Buvelot.

×

Grist Eleanor (Nellie) (1871-1957)

Reference: see Bonhams, Important Australian Art, 23 August 2022, Sydney, lot 55:
Eleanor (Nellie) Grist (1871-1957)
Weary, 1894
signed and dated lower right: 'N. Grist / 1894'
oil on canvas
91.5 x 71.0cm (36 x 27 15/16in).
Frame: Original, Isaac Whitehead, Melbourne
Footnotes
PROVENANCE
Private collection, Melbourne
thence by descent
Private collection, Melbourne

Eleanor 'Nellie' Beatrice Grist (1871-1957) was studying at the National Gallery School in Melbourne from 1894-1895 when the present work was executed. Little is documented of the artist. In the early 1890s she was known to have painted portraits in oils and subsequently was better recognized as a teacher and practitioner of porcelain painting in Melbourne. Active from the 1890s through to the 1940s, Grist was a member of the Melbourne Society of Women Painters and Sculptors between 1912-1920.

The connection with her friend and colleague, Florence Fuller and her original painting Weary, 1888, now in the collection of the Art Gallery of New South Wales, Sydney, is unknown. However, for centuries it has been common practice for students to copy the works of established artists as part of their training. 

Housed in an original Isaac Whitehead frame, Whitehead was the preeminent frame maker in Melbourne supplying frames to many established artists such as Eugene von Guerard, Nicholas Chevalier and Louise Buvelot.

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Fuller Florence afterview full entry

Reference: see Bonhams, Important Australian Art, 23 August 2022, Sydney, lot 55:
Eleanor (Nellie) Grist (1871-1957)
Weary, 1894
signed and dated lower right: 'N. Grist / 1894'
oil on canvas
91.5 x 71.0cm (36 x 27 15/16in).
Frame: Original, Isaac Whitehead, Melbourne
Footnotes
PROVENANCE
Private collection, Melbourne
thence by descent
Private collection, Melbourne

Eleanor 'Nellie' Beatrice Grist (1871-1957) was studying at the National Gallery School in Melbourne from 1894-1895 when the present work was executed. Little is documented of the artist. In the early 1890s she was known to have painted portraits in oils and subsequently was better recognized as a teacher and practitioner of porcelain painting in Melbourne. Active from the 1890s through to the 1940s, Grist was a member of the Melbourne Society of Women Painters and Sculptors between 1912-1920.

The connection with her friend and colleague, Florence Fuller and her original painting Weary, 1888, now in the collection of the Art Gallery of New South Wales, Sydney, is unknown. However, for centuries it has been common practice for students to copy the works of established artists as part of their training. 

Housed in an original Isaac Whitehead frame, Whitehead was the preeminent frame maker in Melbourne supplying frames to many established artists such as Eugene von Guerard, Nicholas Chevalier and Louise Buvelot.

×

Fuller Florence after

Reference: see Bonhams, Important Australian Art, 23 August 2022, Sydney, lot 55:
Eleanor (Nellie) Grist (1871-1957)
Weary, 1894
signed and dated lower right: 'N. Grist / 1894'
oil on canvas
91.5 x 71.0cm (36 x 27 15/16in).
Frame: Original, Isaac Whitehead, Melbourne
Footnotes
PROVENANCE
Private collection, Melbourne
thence by descent
Private collection, Melbourne

Eleanor 'Nellie' Beatrice Grist (1871-1957) was studying at the National Gallery School in Melbourne from 1894-1895 when the present work was executed. Little is documented of the artist. In the early 1890s she was known to have painted portraits in oils and subsequently was better recognized as a teacher and practitioner of porcelain painting in Melbourne. Active from the 1890s through to the 1940s, Grist was a member of the Melbourne Society of Women Painters and Sculptors between 1912-1920.

The connection with her friend and colleague, Florence Fuller and her original painting Weary, 1888, now in the collection of the Art Gallery of New South Wales, Sydney, is unknown. However, for centuries it has been common practice for students to copy the works of established artists as part of their training. 

Housed in an original Isaac Whitehead frame, Whitehead was the preeminent frame maker in Melbourne supplying frames to many established artists such as Eugene von Guerard, Nicholas Chevalier and Louise Buvelot.

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Balson Ralphview full entry

Reference: see Bonhams, Important Australian Art, 23 August 2022, Sydney, lot 39:
Ralph Balson (1890-1964)
Constructive Painting, c.1940
oil on cardboard
78.0 x 63.0cm (30 11/16 x 24 13/16in).
Footnotes
PROVENANCE
The artist's estate
thence by descent
Private collection
Philip Bacon Galleries, Brisbane
Private collection, Queensland

EXHIBITED
probably, Exhibition of Oil Paintings by Ralph Balson, Anthony Hordern and Sons Limited, Sydney, 29 July - 9 August 1941
Ralph Balson, Gallery A, Sydney, November 1979, cat. 12
Ralph Balson: 10 Constructive Paintings, Institute of Modern Art, Brisbane, 1 - 30 October 1980, cat. 1
R-Balson-/41 - Anthony Horderns' Fine Art Galleries, Ivan Dougherty Galleries, College of Fine Arts, The University of New South Wales, Sydney, 22 August - 27 September 2008

LITERATURE
R-Balson-/41 - Anthony Horderns' Fine Art Galleries, Ivan Dougherty Galleries, College of Fine Arts, The University of New South Wales, Sydney, 2008, p. 12 (illus.)
'Art Notes', Art Monthly Australia, August 2008, issue 212, p. 54 (illus.)

RELATED WORKS
Painting, 1941, oil on paperboard, 78.7 x 63.5cm, in the collection of the Art Gallery of New South Wales, Sydney
Painting no. 14, 1941, oil on cardboard, 47.3 x 78.8cm, in the collection of the National Gallery of Victoria, Melbourne
Painting, 1941, oil on cardboard on composition board, 47.2 x 78.7cm, in the collection of the National Gallery of Australia, Canberra

A little over eighty years ago in July 1941, as Ralph Balson mounted his exhibition of constructive (or 'non-objective' paintings, he used both terms), the mood in Sydney was sombre. Britain and America had just frozen all Japanese assets in preparation for a war in the Pacific; the bombing of British towns and cities commenced; campaigns in Greece and North Africa suffered heavy losses; and the German Army moved relentlessly eastward into the Ukraine and towards Leningrad. 

At home the war was also beginning to bite. On the south coast of NSW, dairy farmers called for higher prices for milk and severe petrol restrictions slowed the delivery of food, clothing and household goods across the nation. Air raid shelters, curfews, sirens, drills and blackouts would soon come. But for Ralph Balson the war was also personal. A few months before, his 21 year old son Peter had enlisted in the R.A.A.F. and would soon see active duty in Europe. In 1943, he would be shot down over Germany and taken a prisoner of war. Months would pass before Balson and his wife knew whether Peter was still alive. 

By the beginning of the war, Balson had reached a stage of maturity and confidence in his art practice after decades of intense study and work. He took his first tentative moves towards abstraction with the 1939 group exhibition at the David Jones Art Gallery, showing works with prisms of vivid colour and fragmentation of form which, while abstracted, were still recognisably representational. The exhibition provoked a fierce critical backlash but rather than being tamed by the experience, Balson if anything, became more radical and over the next eighteen months worked hard on a startling new series of works.

After two years Balson had sufficient works to mount a solo exhibition. He presented twenty-one works of untitled completely abstract work, their only identifiers the number in the catalogue and the price. In contrast to 1939, the exhibition hardly caused a ripple. All the press notices were brief and attempted to explain, in the simplest terms, where 'this type of art' fitted. It belonged to the modern age the writer for the Truth declared – to the age of the motor car and machine – and was distinguished by simplicity of form and expression. Paul Haefliger, the newly-appointed art critic for the Sydney Morning Herald demonstrated his recent acquaintance with contemporary European art by acknowledging the influence of Leger, Gleizes and others. Balson, he wrote (albeit reluctantly), possessed 'an excellent colour sense and feeling for design' that too few Australian artists could claim. 

Balson had indeed been looking at the work of Leger and Gleizes, but there were many others he studied closely, ranging from Wassily Kandinsky and Rudolf Bauer to Piet Mondrian and Ben Nicholson. Although he would later say that the biggest influence came from Mondrian, the various books and catalogues known to have been either in his personal collection or borrowed from friends, reveal the true breadth and depth of his reading and thinking. 

In Balson's paintings of 1940/1941, circles, squares, rectangles and triangles float and swirl across the flat plane of the surface. Colours are muted rather than primary and, perhaps unsurprisingly, fashionable and contemporary. The faded pinks, pale yellows, pastel blues and mauve-greys that fill these compositions can be seen in the colour sections of the popular women's magazines and pattern books of the day, though this particular work and a couple of others also have another palette running in counterpoint, of military greens, blues and browns.

What Balson embraced in abstract painting, he later explained to fellow artist and writer Herbert Badham, was that 'the source of true design is to be found in cosmic laws and that this truth offers a better basis for progress than any other' (Adams, p.24, Edwards, p.38). This view of art was essentially optimistic, transcendent and utopian. It was beyond representation and above reality. It emphasised abstract art's positivity, its ability to lift humanity above the destructiveness and baseness of the material world. It was to herald a new expression of truth. Like the writings of Wassily Kandinsky, and later, Hilla Rebay – both of whom Balson read – it had its origins in Theosophy, though Balson's interests seemed to lean more to a mathematical and scientific direction rather than the overtly spiritual. 

None of the paintings sold and with the war deepening, the exhibition was packed up and sent back to his studio. Balson knew his art would be little understood by the average collector as those who bought from him tended to be among the more sophisticated in Sydney society. Patrons such as the Andre Lhote-trained artist Mary Evatt and her husband Herbert who was soon to be the next Attorney-General. This encouragement seems to have been sufficient for Balson persisted with abstraction and never returned to a figurative style. He remained convinced that this was the future. On 30th May 1945 Warrant-Officer Peter Balson was among thirty British, Australian and Canadian POWs liberated from Germany. 

For the next fifteen years Ralph Balson would concentrate on constructive compositions of pure colour and intricate geometry. He refined his technique and painted some of the most beautiful and profound works of his career. He exhibited, often more than once, every year from 1944 for the next twenty years, and was recognised in his lifetime as one of Australia's most important artists. 

Dr Candice Bruce

×

Balson Ralph

Reference: see Bonhams, Important Australian Art, 23 August 2022, Sydney, lot 39:
Ralph Balson (1890-1964)
Constructive Painting, c.1940
oil on cardboard
78.0 x 63.0cm (30 11/16 x 24 13/16in).
Footnotes
PROVENANCE
The artist's estate
thence by descent
Private collection
Philip Bacon Galleries, Brisbane
Private collection, Queensland

EXHIBITED
probably, Exhibition of Oil Paintings by Ralph Balson, Anthony Hordern and Sons Limited, Sydney, 29 July - 9 August 1941
Ralph Balson, Gallery A, Sydney, November 1979, cat. 12
Ralph Balson: 10 Constructive Paintings, Institute of Modern Art, Brisbane, 1 - 30 October 1980, cat. 1
R-Balson-/41 - Anthony Horderns' Fine Art Galleries, Ivan Dougherty Galleries, College of Fine Arts, The University of New South Wales, Sydney, 22 August - 27 September 2008

LITERATURE
R-Balson-/41 - Anthony Horderns' Fine Art Galleries, Ivan Dougherty Galleries, College of Fine Arts, The University of New South Wales, Sydney, 2008, p. 12 (illus.)
'Art Notes', Art Monthly Australia, August 2008, issue 212, p. 54 (illus.)

RELATED WORKS
Painting, 1941, oil on paperboard, 78.7 x 63.5cm, in the collection of the Art Gallery of New South Wales, Sydney
Painting no. 14, 1941, oil on cardboard, 47.3 x 78.8cm, in the collection of the National Gallery of Victoria, Melbourne
Painting, 1941, oil on cardboard on composition board, 47.2 x 78.7cm, in the collection of the National Gallery of Australia, Canberra

A little over eighty years ago in July 1941, as Ralph Balson mounted his exhibition of constructive (or 'non-objective' paintings, he used both terms), the mood in Sydney was sombre. Britain and America had just frozen all Japanese assets in preparation for a war in the Pacific; the bombing of British towns and cities commenced; campaigns in Greece and North Africa suffered heavy losses; and the German Army moved relentlessly eastward into the Ukraine and towards Leningrad. 

At home the war was also beginning to bite. On the south coast of NSW, dairy farmers called for higher prices for milk and severe petrol restrictions slowed the delivery of food, clothing and household goods across the nation. Air raid shelters, curfews, sirens, drills and blackouts would soon come. But for Ralph Balson the war was also personal. A few months before, his 21 year old son Peter had enlisted in the R.A.A.F. and would soon see active duty in Europe. In 1943, he would be shot down over Germany and taken a prisoner of war. Months would pass before Balson and his wife knew whether Peter was still alive. 

By the beginning of the war, Balson had reached a stage of maturity and confidence in his art practice after decades of intense study and work. He took his first tentative moves towards abstraction with the 1939 group exhibition at the David Jones Art Gallery, showing works with prisms of vivid colour and fragmentation of form which, while abstracted, were still recognisably representational. The exhibition provoked a fierce critical backlash but rather than being tamed by the experience, Balson if anything, became more radical and over the next eighteen months worked hard on a startling new series of works.

After two years Balson had sufficient works to mount a solo exhibition. He presented twenty-one works of untitled completely abstract work, their only identifiers the number in the catalogue and the price. In contrast to 1939, the exhibition hardly caused a ripple. All the press notices were brief and attempted to explain, in the simplest terms, where 'this type of art' fitted. It belonged to the modern age the writer for the Truth declared – to the age of the motor car and machine – and was distinguished by simplicity of form and expression. Paul Haefliger, the newly-appointed art critic for the Sydney Morning Herald demonstrated his recent acquaintance with contemporary European art by acknowledging the influence of Leger, Gleizes and others. Balson, he wrote (albeit reluctantly), possessed 'an excellent colour sense and feeling for design' that too few Australian artists could claim. 

Balson had indeed been looking at the work of Leger and Gleizes, but there were many others he studied closely, ranging from Wassily Kandinsky and Rudolf Bauer to Piet Mondrian and Ben Nicholson. Although he would later say that the biggest influence came from Mondrian, the various books and catalogues known to have been either in his personal collection or borrowed from friends, reveal the true breadth and depth of his reading and thinking. 

In Balson's paintings of 1940/1941, circles, squares, rectangles and triangles float and swirl across the flat plane of the surface. Colours are muted rather than primary and, perhaps unsurprisingly, fashionable and contemporary. The faded pinks, pale yellows, pastel blues and mauve-greys that fill these compositions can be seen in the colour sections of the popular women's magazines and pattern books of the day, though this particular work and a couple of others also have another palette running in counterpoint, of military greens, blues and browns.

What Balson embraced in abstract painting, he later explained to fellow artist and writer Herbert Badham, was that 'the source of true design is to be found in cosmic laws and that this truth offers a better basis for progress than any other' (Adams, p.24, Edwards, p.38). This view of art was essentially optimistic, transcendent and utopian. It was beyond representation and above reality. It emphasised abstract art's positivity, its ability to lift humanity above the destructiveness and baseness of the material world. It was to herald a new expression of truth. Like the writings of Wassily Kandinsky, and later, Hilla Rebay – both of whom Balson read – it had its origins in Theosophy, though Balson's interests seemed to lean more to a mathematical and scientific direction rather than the overtly spiritual. 

None of the paintings sold and with the war deepening, the exhibition was packed up and sent back to his studio. Balson knew his art would be little understood by the average collector as those who bought from him tended to be among the more sophisticated in Sydney society. Patrons such as the Andre Lhote-trained artist Mary Evatt and her husband Herbert who was soon to be the next Attorney-General. This encouragement seems to have been sufficient for Balson persisted with abstraction and never returned to a figurative style. He remained convinced that this was the future. On 30th May 1945 Warrant-Officer Peter Balson was among thirty British, Australian and Canadian POWs liberated from Germany. 

For the next fifteen years Ralph Balson would concentrate on constructive compositions of pure colour and intricate geometry. He refined his technique and painted some of the most beautiful and profound works of his career. He exhibited, often more than once, every year from 1944 for the next twenty years, and was recognised in his lifetime as one of Australia's most important artists. 

Dr Candice Bruce

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Savvas Nikeview full entry

Reference: see article in Look magazine, Aug-Sept, 2022

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Savvas Nike

Reference: see article in Look magazine, Aug-Sept, 2022

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Douglas Blakview full entry

Reference: see article in Look magazine, Aug-Sept, 2022

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Douglas Blak

Reference: see article in Look magazine, Aug-Sept, 2022

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Douglas Blakview full entry

Reference: see article in Look magazine, Aug-Sept, 2022
Publishing details: Look Magazine, Art Gallery of NSW Members Society, 2022

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Douglas Blak

Reference: see article in Look magazine, Aug-Sept, 2022

Publishing details: Look Magazine, Art Gallery of NSW Members Society, 2022

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Famous Australian Artistsview full entry

Reference: Famous Australian Artists, by Lois Hunter


Publishing details: Sydney: New Holland, 2003.
Reprint.
104 pages, colour illustrations. Illustrated french fold wrappers.
Ref: 1009

×

Famous Australian Artists

Reference: Famous Australian Artists, by Lois Hunter

Publishing details: Sydney: New Holland, 2003.
Reprint.
104 pages, colour illustrations. Illustrated french fold wrappers.

Location: 1009

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Lahey Vidaview full entry

Reference: Vida Lahey - Colour and Modernism
Publishing details: Brisbane: Queensland Art Gallery, 2010.
First Edition.
27.5cm x 21cm. [8] pages, colour illustrations. Quad-fold.
Ref: 1009

×

Lahey Vida

Reference: Vida Lahey - Colour and Modernism

Publishing details: Brisbane: Queensland Art Gallery, 2010.
First Edition.
27.5cm x 21cm. [8] pages, colour illustrations. Quad-fold.

Location: 1009

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Stelarcview full entry

Reference: OBSOLETE BODY / SUSPENSIONS / STELARC, by James B. Paffrath

Monograph documenting the suspension performance art of Stelarc, mostly in Japan and Australia, from his early performances in the 1970s through to the early 1980s. Mostly in English, a few Japanese texts.

Publishing details: Davis: JP Publications, 1984.
First Edition.
30.5cm x 22.5cm. 160 pages, illustrations, some colour. Pictorial wrappers.
Ref: 1000

×

Stelarc

Reference: OBSOLETE BODY / SUSPENSIONS / STELARC, by James B. Paffrath

Monograph documenting the suspension performance art of Stelarc, mostly in Japan and Australia, from his early performances in the 1970s through to the early 1980s. Mostly in English, a few Japanese texts.

Publishing details: Davis: JP Publications, 1984.
First Edition.
30.5cm x 22.5cm. 160 pages, illustrations, some colour. Pictorial wrappers.

Location: 1000

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Nolan Sidneyview full entry

Reference: Shaken to his Core: The Untold Story of Nolan’s Auschwitz, Sydney Jewish Muesum catalogue, 2022,
From July 21 - 23 October 2022, the Sydney Jewish Museum will exhibit Shaken to his Core: The Untold Story of Nolan’s Auschwitz. This rare exhibition will showcase 50 works by Sir Sidney Nolan from a series never before seen in Australia.
Best known for his bold modernist work, Nolan elevated the mythology of the Australian bush to global prominence and earned himself a place among the most significant artists of the 20th century.
Yet, his response to the Holocaust has until now remained unseen and unknown.
This exhibition uncovers an important chapter in his life and work: a series of images painted with great intensity during 1961, as the Adolf Eichmann trial came to a close and as Nolan prepared to visit Auschwitz.


Publishing details: Sydney Jewish Muesum catalogue, 2022, 15pp

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Nolan Sidney

Reference: Shaken to his Core: The Untold Story of Nolan’s Auschwitz, Sydney Jewish Muesum catalogue, 2022,
From July 21 - 23 October 2022, the Sydney Jewish Museum will exhibit Shaken to his Core: The Untold Story of Nolan’s Auschwitz. This rare exhibition will showcase 50 works by Sir Sidney Nolan from a series never before seen in Australia.
Best known for his bold modernist work, Nolan elevated the mythology of the Australian bush to global prominence and earned himself a place among the most significant artists of the 20th century.
Yet, his response to the Holocaust has until now remained unseen and unknown.
This exhibition uncovers an important chapter in his life and work: a series of images painted with great intensity during 1961, as the Adolf Eichmann trial came to a close and as Nolan prepared to visit Auschwitz.

Publishing details: Sydney Jewish Muesum catalogue, 2022, 15pp

Location: 0

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Dobell Drawing Prize 22view full entry

Reference: Dobell Drawing Prize #22 [to be indexed]
Publishing details: National Art School, 2022,
Ref: 1000

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Dobell Drawing Prize 22

Reference: Dobell Drawing Prize #22 [to be indexed]

Publishing details: National Art School, 2022,

Location: 1000

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Caught stealing view full entry

Reference: Caught stealing : National Art School Gallery 14 June - 10 August 2019 / [editors: Isabel Hesketh, Olivia Sophia, Jaime Tsai]. Published on the occasion of the exhibition held 14 June - 10 August 2019 at the National Art School, Sydney. [to be indexed]

Publishing details: National Art School Gallery, 2019. 61pp
Ref: 1000

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Caught stealing

Reference: Caught stealing : National Art School Gallery 14 June - 10 August 2019 / [editors: Isabel Hesketh, Olivia Sophia, Jaime Tsai]. Published on the occasion of the exhibition held 14 June - 10 August 2019 at the National Art School, Sydney. [to be indexed]

Publishing details: National Art School Gallery, 2019. 61pp

Location: 1000

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Brown Reuben Ernestview full entry

Reference: Paralell Landscapes, exhibition at Bundanon Art Gallery Aug - Sept, 2022
Publishing details: Bundanon Art Gallery, 2022 [catalogue details to be entered.
Ref: 1000

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Brown Reuben Ernest

Reference: Paralell Landscapes, exhibition at Bundanon Art Gallery Aug - Sept, 2022

Publishing details: Bundanon Art Gallery, 2022 [catalogue details to be entered.

Location: 1000

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Brown Reuben Ernestview full entry

Reference: Detective work uncovers unknown artist’s joyful images. By Steve Meacham, in Sydney Morning Herald, p15,
August 3, 2022
Ref: 145

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Brown Reuben Ernest

Reference: Detective work uncovers unknown artist’s joyful images. By Steve Meacham, in Sydney Morning Herald, p15,
August 3, 2022

Publishing details:

Location: 145

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Mitchell Thomas Livingstoneview full entry

Reference: Thomas Livingston Mitchell and his world, by Wlliam C. Foster
Publishing details: Institute of Surveyors, 1985, 594pp
Ref: 1000

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Mitchell Thomas Livingstone

Reference: Thomas Livingston Mitchell and his world, by Wlliam C. Foster

Publishing details: Institute of Surveyors, 1985, 594pp

Location: 1000

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Colonial Afterlivesview full entry

Reference: Colonial Afterlives, by Sarah Thomas, (ed.)
DANIEL BOYD
MAREE CLARKE
FIONA FOLEY
JULIE GOUGH
JAMES NEWITT
GEOFF PARR
YVONNE REES-PAGH
JOAN ROSS
CHRISTIAN THOMPSON
 
Publishing details: Salamanca Arts Centre, Hobart, 2015
Ref: 1000

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Colonial Afterlives

Reference: Colonial Afterlives, by Sarah Thomas, (ed.)
DANIEL BOYD
MAREE CLARKE
FIONA FOLEY
JULIE GOUGH
JAMES NEWITT
GEOFF PARR
YVONNE REES-PAGH
JOAN ROSS
CHRISTIAN THOMPSON
 

Publishing details: Salamanca Arts Centre, Hobart, 2015

Location: 1000

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Namatjira Albert North of MacDonells 1953view full entry

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Namatjira Albert North of MacDonells 1953

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Boyd Athur Evening Shoalhaven 1981view full entry

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Boyd Athur Evening Shoalhaven 1981

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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O’Brien Justin 2 works 1959 and 1971-2view full entry

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essays on the artworks

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O’Brien Justin 2 works 1959 and 1971-2

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essays on the artworks

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Badham Herbert The Bus Stop 1953view full entry

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Badham Herbert The Bus Stop 1953

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Fox Phillips Blanche et Noire 1912view full entry

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Fox Phillips Blanche et Noire 1912

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Fox Ethel Carrick Sur la plage 1911view full entry

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Fox Ethel Carrick Sur la plage 1911

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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von Guerard Eugene The American Creek near Woollongongview full entry

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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von Guerard Eugene The American Creek near Woollongong

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Piguenit W C The Lane Cove River 1887view full entry

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Piguenit W C The Lane Cove River 1887

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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McCubbin Frederick A Quiet Study 1886view full entry

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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McCubbin Frederick A Quiet Study 1886

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Nicholas Hilda Rix Colonel Barnes 1907view full entry

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Nicholas Hilda Rix Colonel Barnes 1907

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Dickerson Robert Frteeway 1988view full entry

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Dickerson Robert Frteeway 1988

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Cook W Delafield Gundagai Revisited 2006view full entry

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Cook W Delafield Gundagai Revisited 2006

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Campbell Cressida Garden Island 1990view full entry

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork in a separate booklet, and other works by her with essays in the catalogue.

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Campbell Cressida Garden Island 1990

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork in a separate booklet, and other works by her with essays in the catalogue.

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Onus Lin Guyi Bulgabulu 1992view full entry

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Onus Lin Guyi Bulgabulu 1992

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Dupain Max Sunbaker 1937 printed laterview full entry

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Dupain Max Sunbaker 1937 printed later

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Kerwick Jordy Rimbaud 2019view full entry

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Kerwick Jordy Rimbaud 2019

Reference: see Smith & Singer auction catalogue, 24 August, 2022, with essay on the artwork

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Ferris Jeffview full entry

Reference: Jeff Ferris   Recent Paintings
‘I tend to paint urban landscapes. I live in the western suburbs of Melbourne – Altona. I grew up in Williamstown. Most of my images and ideas come from what I see around me. Petro chemical factories, industrial themes, things I see as I drive around. At the same time I am trying to capture a particular ‘light’ and a particular atmosphere - moment. The light and the shadows of early mornings – especially winter, has always interested me. The late evening light is wonderful. The shadows are long and the light is sharp. I like dark bold skies.’
Publishing details: Bridget McDonnell Gallery, 2022, [catalogue details to be entered]
Ref: 1000

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Ferris Jeff

Reference: Jeff Ferris   Recent Paintings
‘I tend to paint urban landscapes. I live in the western suburbs of Melbourne – Altona. I grew up in Williamstown. Most of my images and ideas come from what I see around me. Petro chemical factories, industrial themes, things I see as I drive around. At the same time I am trying to capture a particular ‘light’ and a particular atmosphere - moment. The light and the shadows of early mornings – especially winter, has always interested me. The late evening light is wonderful. The shadows are long and the light is sharp. I like dark bold skies.’

Publishing details: Bridget McDonnell Gallery, 2022, [catalogue details to be entered]

Location: 1000

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Richards Clifford Francisview full entry

Reference: see eBay listing 7.8.22
Drawing  "DROVERS' AFTERNOON TEA"
Unframed
Original Ink Sketch 1989 by Clifford F. Richards.
27.5cm X 21.5cm
Page:  36.5cm X 27cm
ABOUT THE ARTIST

CLIFFORD FRANCES RICHARDS (21/06/1921 - 31/07/1998)  was born in Queensland to Irish-Australian parents.

A boilermaker/welder by trade, Cliff worked in Brisbane, Perth and Papua New Guinea before retiring to Bribie Island on Queensland’s Sunshine Coast in the early 1980s.  A staunch family man, Cliff and his wife of many years, Coral raised 3 daughters who all in turn followed them to retire on Bribie.  When he passed away, Cliff was adored by 6 grandchildren and 4 great-grandchildren.

An intelligent man, Cliff found it impossible to sit still.  He was passionate about fishing, gardening and was an accomplished lawn bowler.  Cliff painted in watercolours as well as oils.  Many works were sketched in charcoal or pen and pencil.  He was entirely self taught.

When he needed a break from painting or drawing, Cliff designed and built his own unique pieces of wooden furniture.

Cliff was witty, quick to laugh and joke and enjoyed a hearty debate.  He is dearly missed.

Whilst his art was revered by the family during its production, the full extent of Cliff’s talent and the number of works he completed were not realised until they were virtually stumbled upon in storage some 20 years after his passing

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Richards Clifford Francis

Reference: see eBay listing 7.8.22
Drawing  "DROVERS' AFTERNOON TEA"
Unframed
Original Ink Sketch 1989 by Clifford F. Richards.
27.5cm X 21.5cm
Page:  36.5cm X 27cm
ABOUT THE ARTIST

CLIFFORD FRANCES RICHARDS (21/06/1921 - 31/07/1998)  was born in Queensland to Irish-Australian parents.

A boilermaker/welder by trade, Cliff worked in Brisbane, Perth and Papua New Guinea before retiring to Bribie Island on Queensland’s Sunshine Coast in the early 1980s.  A staunch family man, Cliff and his wife of many years, Coral raised 3 daughters who all in turn followed them to retire on Bribie.  When he passed away, Cliff was adored by 6 grandchildren and 4 great-grandchildren.

An intelligent man, Cliff found it impossible to sit still.  He was passionate about fishing, gardening and was an accomplished lawn bowler.  Cliff painted in watercolours as well as oils.  Many works were sketched in charcoal or pen and pencil.  He was entirely self taught.

When he needed a break from painting or drawing, Cliff designed and built his own unique pieces of wooden furniture.

Cliff was witty, quick to laugh and joke and enjoyed a hearty debate.  He is dearly missed.

Whilst his art was revered by the family during its production, the full extent of Cliff’s talent and the number of works he completed were not realised until they were virtually stumbled upon in storage some 20 years after his passing

Publishing details:

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Booth Peterview full entry

Reference: Peter Booth - Works on Paper 1963 - 1985. Catalogue of the exhibition held at the University Gallery, the University of Melbourne, 13 Nov.-13 Dec., 1985.
Foreword by Frances Lindsay ; catalogue essay by Gary Catalano.
Bibliography: p. 40.
Publishing details: Parkville, Vic. : University Gallery, University of Melbourne, 1985 
40 pages : illustrations (some col.)

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Booth Peter

Reference: Peter Booth - Works on Paper 1963 - 1985. Catalogue of the exhibition held at the University Gallery, the University of Melbourne, 13 Nov.-13 Dec., 1985.
Foreword by Frances Lindsay ; catalogue essay by Gary Catalano.
Bibliography: p. 40.

Publishing details: Parkville, Vic. : University Gallery, University of Melbourne, 1985 
40 pages : illustrations (some col.)

Location: 0

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Adorned established 2014view full entry

Reference: see New sacred
Includes ‘artist CV?s’p48-50
The exhibition New Sacred has been developed as a partnership between Parramatta Artists Studios and Mosman Art Gallery in response to critical discourses in contemporary Australian art practices concerning storytelling through ritual, cultural traditions, narratives and folklore. 
New Sacred includes newly commissioned and recent artworks by nine contemporary Australian artists who are current residents or Alumni of the Parramatta Artists Studios. Together the artists work across a range of art media including installation, performance, video, painting and cross disciplinary practices, some with direct reference to and engagement with culturally rich artisan traditions.  
Artists include: Adorned, Khadim Ali, Cigdem Aydemir, Keg de Souza, Mehwish Iqbal, Elena Papanikolakis, Marikit Santiago, Salote Tawale and Shireen Taweel.  
Parramatta Artists Studios is an initiative of the City of Parramatta and is assisted by the NSW Government through Create NSW.


Publishing details: Mosman Art Gallery, 2018. pb, 56pp

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Adorned established 2014

Reference: see New sacred
Includes ‘artist CV?s’p48-50
The exhibition New Sacred has been developed as a partnership between Parramatta Artists Studios and Mosman Art Gallery in response to critical discourses in contemporary Australian art practices concerning storytelling through ritual, cultural traditions, narratives and folklore. 
New Sacred includes newly commissioned and recent artworks by nine contemporary Australian artists who are current residents or Alumni of the Parramatta Artists Studios. Together the artists work across a range of art media including installation, performance, video, painting and cross disciplinary practices, some with direct reference to and engagement with culturally rich artisan traditions.  
Artists include: Adorned, Khadim Ali, Cigdem Aydemir, Keg de Souza, Mehwish Iqbal, Elena Papanikolakis, Marikit Santiago, Salote Tawale and Shireen Taweel.  
Parramatta Artists Studios is an initiative of the City of Parramatta and is assisted by the NSW Government through Create NSW.

Publishing details: Mosman Art Gallery, 2018. pb, 56pp

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Ali Khadimview full entry

Reference: see New sacred
Includes ‘artist CV?s’p48-50
The exhibition New Sacred has been developed as a partnership between Parramatta Artists Studios and Mosman Art Gallery in response to critical discourses in contemporary Australian art practices concerning storytelling through ritual, cultural traditions, narratives and folklore. 
New Sacred includes newly commissioned and recent artworks by nine contemporary Australian artists who are current residents or Alumni of the Parramatta Artists Studios. Together the artists work across a range of art media including installation, performance, video, painting and cross disciplinary practices, some with direct reference to and engagement with culturally rich artisan traditions.  
Artists include: Adorned, Khadim Ali, Cigdem Aydemir, Keg de Souza, Mehwish Iqbal, Elena Papanikolakis, Marikit Santiago, Salote Tawale and Shireen Taweel.  
Parramatta Artists Studios is an initiative of the City of Parramatta and is assisted by the NSW Government through Create NSW.


Publishing details: Mosman Art Gallery, 2018. pb, 56pp

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Ali Khadim

Reference: see New sacred
Includes ‘artist CV?s’p48-50
The exhibition New Sacred has been developed as a partnership between Parramatta Artists Studios and Mosman Art Gallery in response to critical discourses in contemporary Australian art practices concerning storytelling through ritual, cultural traditions, narratives and folklore. 
New Sacred includes newly commissioned and recent artworks by nine contemporary Australian artists who are current residents or Alumni of the Parramatta Artists Studios. Together the artists work across a range of art media including installation, performance, video, painting and cross disciplinary practices, some with direct reference to and engagement with culturally rich artisan traditions.  
Artists include: Adorned, Khadim Ali, Cigdem Aydemir, Keg de Souza, Mehwish Iqbal, Elena Papanikolakis, Marikit Santiago, Salote Tawale and Shireen Taweel.  
Parramatta Artists Studios is an initiative of the City of Parramatta and is assisted by the NSW Government through Create NSW.

Publishing details: Mosman Art Gallery, 2018. pb, 56pp

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Aydemir Cigdemview full entry

Reference: see New sacred
Includes ‘artist CV?s’p48-50
The exhibition New Sacred has been developed as a partnership between Parramatta Artists Studios and Mosman Art Gallery in response to critical discourses in contemporary Australian art practices concerning storytelling through ritual, cultural traditions, narratives and folklore. 
New Sacred includes newly commissioned and recent artworks by nine contemporary Australian artists who are current residents or Alumni of the Parramatta Artists Studios. Together the artists work across a range of art media including installation, performance, video, painting and cross disciplinary practices, some with direct reference to and engagement with culturally rich artisan traditions.  
Artists include: Adorned, Khadim Ali, Cigdem Aydemir, Keg de Souza, Mehwish Iqbal, Elena Papanikolakis, Marikit Santiago, Salote Tawale and Shireen Taweel.  
Parramatta Artists Studios is an initiative of the City of Parramatta and is assisted by the NSW Government through Create NSW.


Publishing details: Mosman Art Gallery, 2018. pb, 56pp

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Aydemir Cigdem

Reference: see New sacred
Includes ‘artist CV?s’p48-50
The exhibition New Sacred has been developed as a partnership between Parramatta Artists Studios and Mosman Art Gallery in response to critical discourses in contemporary Australian art practices concerning storytelling through ritual, cultural traditions, narratives and folklore. 
New Sacred includes newly commissioned and recent artworks by nine contemporary Australian artists who are current residents or Alumni of the Parramatta Artists Studios. Together the artists work across a range of art media including installation, performance, video, painting and cross disciplinary practices, some with direct reference to and engagement with culturally rich artisan traditions.  
Artists include: Adorned, Khadim Ali, Cigdem Aydemir, Keg de Souza, Mehwish Iqbal, Elena Papanikolakis, Marikit Santiago, Salote Tawale and Shireen Taweel.  
Parramatta Artists Studios is an initiative of the City of Parramatta and is assisted by the NSW Government through Create NSW.

Publishing details: Mosman Art Gallery, 2018. pb, 56pp

Location:

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de Souza Kegview full entry

Reference: see New sacred
Includes ‘artist CV?s’p48-50
The exhibition New Sacred has been developed as a partnership between Parramatta Artists Studios and Mosman Art Gallery in response to critical discourses in contemporary Australian art practices concerning storytelling through ritual, cultural traditions, narratives and folklore. 
New Sacred includes newly commissioned and recent artworks by nine contemporary Australian artists who are current residents or Alumni of the Parramatta Artists Studios. Together the artists work across a range of art media including installation, performance, video, painting and cross disciplinary practices, some with direct reference to and engagement with culturally rich artisan traditions.  
Artists include: Adorned, Khadim Ali, Cigdem Aydemir, Keg de Souza, Mehwish Iqbal, Elena Papanikolakis, Marikit Santiago, Salote Tawale and Shireen Taweel.  
Parramatta Artists Studios is an initiative of the City of Parramatta and is assisted by the NSW Government through Create NSW.


Publishing details: Mosman Art Gallery, 2018. pb, 56pp

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de Souza Keg

Reference: see New sacred
Includes ‘artist CV?s’p48-50
The exhibition New Sacred has been developed as a partnership between Parramatta Artists Studios and Mosman Art Gallery in response to critical discourses in contemporary Australian art practices concerning storytelling through ritual, cultural traditions, narratives and folklore. 
New Sacred includes newly commissioned and recent artworks by nine contemporary Australian artists who are current residents or Alumni of the Parramatta Artists Studios. Together the artists work across a range of art media including installation, performance, video, painting and cross disciplinary practices, some with direct reference to and engagement with culturally rich artisan traditions.  
Artists include: Adorned, Khadim Ali, Cigdem Aydemir, Keg de Souza, Mehwish Iqbal, Elena Papanikolakis, Marikit Santiago, Salote Tawale and Shireen Taweel.  
Parramatta Artists Studios is an initiative of the City of Parramatta and is assisted by the NSW Government through Create NSW.

Publishing details: Mosman Art Gallery, 2018. pb, 56pp

Location:

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Iqbal Mehwishview full entry

Reference: see New sacred
Includes ‘artist CV?s’p48-50
The exhibition New Sacred has been developed as a partnership between Parramatta Artists Studios and Mosman Art Gallery in response to critical discourses in contemporary Australian art practices concerning storytelling through ritual, cultural traditions, narratives and folklore. 
New Sacred includes newly commissioned and recent artworks by nine contemporary Australian artists who are current residents or Alumni of the Parramatta Artists Studios. Together the artists work across a range of art media including installation, performance, video, painting and cross disciplinary practices, some with direct reference to and engagement with culturally rich artisan traditions.  
Artists include: Adorned, Khadim Ali, Cigdem Aydemir, Keg de Souza, Mehwish Iqbal, Elena Papanikolakis, Marikit Santiago, Salote Tawale and Shireen Taweel.  
Parramatta Artists Studios is an initiative of the City of Parramatta and is assisted by the NSW Government through Create NSW.


Publishing details: Mosman Art Gallery, 2018. pb, 56pp

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Iqbal Mehwish

Reference: see New sacred
Includes ‘artist CV?s’p48-50
The exhibition New Sacred has been developed as a partnership between Parramatta Artists Studios and Mosman Art Gallery in response to critical discourses in contemporary Australian art practices concerning storytelling through ritual, cultural traditions, narratives and folklore. 
New Sacred includes newly commissioned and recent artworks by nine contemporary Australian artists who are current residents or Alumni of the Parramatta Artists Studios. Together the artists work across a range of art media including installation, performance, video, painting and cross disciplinary practices, some with direct reference to and engagement with culturally rich artisan traditions.  
Artists include: Adorned, Khadim Ali, Cigdem Aydemir, Keg de Souza, Mehwish Iqbal, Elena Papanikolakis, Marikit Santiago, Salote Tawale and Shireen Taweel.  
Parramatta Artists Studios is an initiative of the City of Parramatta and is assisted by the NSW Government through Create NSW.

Publishing details: Mosman Art Gallery, 2018. pb, 56pp

Location:

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Papanikolakis Elenaview full entry

Reference: see New sacred
Includes ‘artist CV?s’p48-50
The exhibition New Sacred has been developed as a partnership between Parramatta Artists Studios and Mosman Art Gallery in response to critical discourses in contemporary Australian art practices concerning storytelling through ritual, cultural traditions, narratives and folklore. 
New Sacred includes newly commissioned and recent artworks by nine contemporary Australian artists who are current residents or Alumni of the Parramatta Artists Studios. Together the artists work across a range of art media including installation, performance, video, painting and cross disciplinary practices, some with direct reference to and engagement with culturally rich artisan traditions.  
Artists include: Adorned, Khadim Ali, Cigdem Aydemir, Keg de Souza, Mehwish Iqbal, Elena Papanikolakis, Marikit Santiago, Salote Tawale and Shireen Taweel.  
Parramatta Artists Studios is an initiative of the City of Parramatta and is assisted by the NSW Government through Create NSW.


Publishing details: Mosman Art Gallery, 2018. pb, 56pp

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Papanikolakis Elena

Reference: see New sacred
Includes ‘artist CV?s’p48-50
The exhibition New Sacred has been developed as a partnership between Parramatta Artists Studios and Mosman Art Gallery in response to critical discourses in contemporary Australian art practices concerning storytelling through ritual, cultural traditions, narratives and folklore. 
New Sacred includes newly commissioned and recent artworks by nine contemporary Australian artists who are current residents or Alumni of the Parramatta Artists Studios. Together the artists work across a range of art media including installation, performance, video, painting and cross disciplinary practices, some with direct reference to and engagement with culturally rich artisan traditions.  
Artists include: Adorned, Khadim Ali, Cigdem Aydemir, Keg de Souza, Mehwish Iqbal, Elena Papanikolakis, Marikit Santiago, Salote Tawale and Shireen Taweel.  
Parramatta Artists Studios is an initiative of the City of Parramatta and is assisted by the NSW Government through Create NSW.

Publishing details: Mosman Art Gallery, 2018. pb, 56pp

Location:

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Santiago Marikitview full entry

Reference: see New sacred
Includes ‘artist CV?s’p48-50
The exhibition New Sacred has been developed as a partnership between Parramatta Artists Studios and Mosman Art Gallery in response to critical discourses in contemporary Australian art practices concerning storytelling through ritual, cultural traditions, narratives and folklore. 
New Sacred includes newly commissioned and recent artworks by nine contemporary Australian artists who are current residents or Alumni of the Parramatta Artists Studios. Together the artists work across a range of art media including installation, performance, video, painting and cross disciplinary practices, some with direct reference to and engagement with culturally rich artisan traditions.  
Artists include: Adorned, Khadim Ali, Cigdem Aydemir, Keg de Souza, Mehwish Iqbal, Elena Papanikolakis, Marikit Santiago, Salote Tawale and Shireen Taweel.  
Parramatta Artists Studios is an initiative of the City of Parramatta and is assisted by the NSW Government through Create NSW.


Publishing details: Mosman Art Gallery, 2018. pb, 56pp

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Santiago Marikit

Reference: see New sacred
Includes ‘artist CV?s’p48-50
The exhibition New Sacred has been developed as a partnership between Parramatta Artists Studios and Mosman Art Gallery in response to critical discourses in contemporary Australian art practices concerning storytelling through ritual, cultural traditions, narratives and folklore. 
New Sacred includes newly commissioned and recent artworks by nine contemporary Australian artists who are current residents or Alumni of the Parramatta Artists Studios. Together the artists work across a range of art media including installation, performance, video, painting and cross disciplinary practices, some with direct reference to and engagement with culturally rich artisan traditions.  
Artists include: Adorned, Khadim Ali, Cigdem Aydemir, Keg de Souza, Mehwish Iqbal, Elena Papanikolakis, Marikit Santiago, Salote Tawale and Shireen Taweel.  
Parramatta Artists Studios is an initiative of the City of Parramatta and is assisted by the NSW Government through Create NSW.

Publishing details: Mosman Art Gallery, 2018. pb, 56pp

Location:

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Tawale Saloteview full entry

Reference: see New sacred
Includes ‘artist CV?s’p48-50
The exhibition New Sacred has been developed as a partnership between Parramatta Artists Studios and Mosman Art Gallery in response to critical discourses in contemporary Australian art practices concerning storytelling through ritual, cultural traditions, narratives and folklore. 
New Sacred includes newly commissioned and recent artworks by nine contemporary Australian artists who are current residents or Alumni of the Parramatta Artists Studios. Together the artists work across a range of art media including installation, performance, video, painting and cross disciplinary practices, some with direct reference to and engagement with culturally rich artisan traditions.  
Artists include: Adorned, Khadim Ali, Cigdem Aydemir, Keg de Souza, Mehwish Iqbal, Elena Papanikolakis, Marikit Santiago, Salote Tawale and Shireen Taweel.  
Parramatta Artists Studios is an initiative of the City of Parramatta and is assisted by the NSW Government through Create NSW.


Publishing details: Mosman Art Gallery, 2018. pb, 56pp

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Tawale Salote

Reference: see New sacred
Includes ‘artist CV?s’p48-50
The exhibition New Sacred has been developed as a partnership between Parramatta Artists Studios and Mosman Art Gallery in response to critical discourses in contemporary Australian art practices concerning storytelling through ritual, cultural traditions, narratives and folklore. 
New Sacred includes newly commissioned and recent artworks by nine contemporary Australian artists who are current residents or Alumni of the Parramatta Artists Studios. Together the artists work across a range of art media including installation, performance, video, painting and cross disciplinary practices, some with direct reference to and engagement with culturally rich artisan traditions.  
Artists include: Adorned, Khadim Ali, Cigdem Aydemir, Keg de Souza, Mehwish Iqbal, Elena Papanikolakis, Marikit Santiago, Salote Tawale and Shireen Taweel.  
Parramatta Artists Studios is an initiative of the City of Parramatta and is assisted by the NSW Government through Create NSW.

Publishing details: Mosman Art Gallery, 2018. pb, 56pp

Location:

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Taweel Shireenview full entry

Reference: see New sacred
Includes ‘artist CV?s’p48-50
The exhibition New Sacred has been developed as a partnership between Parramatta Artists Studios and Mosman Art Gallery in response to critical discourses in contemporary Australian art practices concerning storytelling through ritual, cultural traditions, narratives and folklore. 
New Sacred includes newly commissioned and recent artworks by nine contemporary Australian artists who are current residents or Alumni of the Parramatta Artists Studios. Together the artists work across a range of art media including installation, performance, video, painting and cross disciplinary practices, some with direct reference to and engagement with culturally rich artisan traditions.  
Artists include: Adorned, Khadim Ali, Cigdem Aydemir, Keg de Souza, Mehwish Iqbal, Elena Papanikolakis, Marikit Santiago, Salote Tawale and Shireen Taweel.  
Parramatta Artists Studios is an initiative of the City of Parramatta and is assisted by the NSW Government through Create NSW.


Publishing details: Mosman Art Gallery, 2018. pb, 56pp

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Taweel Shireen

Reference: see New sacred
Includes ‘artist CV?s’p48-50
The exhibition New Sacred has been developed as a partnership between Parramatta Artists Studios and Mosman Art Gallery in response to critical discourses in contemporary Australian art practices concerning storytelling through ritual, cultural traditions, narratives and folklore. 
New Sacred includes newly commissioned and recent artworks by nine contemporary Australian artists who are current residents or Alumni of the Parramatta Artists Studios. Together the artists work across a range of art media including installation, performance, video, painting and cross disciplinary practices, some with direct reference to and engagement with culturally rich artisan traditions.  
Artists include: Adorned, Khadim Ali, Cigdem Aydemir, Keg de Souza, Mehwish Iqbal, Elena Papanikolakis, Marikit Santiago, Salote Tawale and Shireen Taweel.  
Parramatta Artists Studios is an initiative of the City of Parramatta and is assisted by the NSW Government through Create NSW.

Publishing details: Mosman Art Gallery, 2018. pb, 56pp

Location:

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Murray Johnview full entry

Reference: Adventures of Tomorrow, Man
(catalogue in book form from exhibition 13 March - 27 March 2021.
From Art Atrium website:
\’John Murray
The Adventures of Tomorrow, man !
In:
Going to the patisserie, and beyond.
This exhibition carries in it 20 years of thought upon the subject of not doing things, of solving things by inaction. Its purpose is to polarise the world in a helpful way. It is not a new idea, there are many fine examples of it particularly in eastern spirituality. Inaction is the other control lever, the break to an accelerator, it is the space that accentuates an object, the slowing down to so as not to miss out. This exhibition is in a way a thesis, late as you could expect as it has as it’s subject the nature of not doing things.
On it’s uppermost level these comics promote an alternate hero to the existing pantheon of impressive proactive super hero’s, a hopeless hero, one that could barely even exist, really the opposite, infinity is where the edge is and infinity is full of holes but it is still infinity.
It is about that duality, the holes in infinity.
This is how an inactive superhero would save the world, if we could believe in them, as much as we believe in superman.
It is a collection of comics presented large and out of note book form for the first time at the Art Atrium gallery on March 13th by John Murray and introduced by Richard Laplastrier.
John Murray graduated with his Bachelor of Fine Art degree from College of Fine Art, University of NSW in 2000 after completing his Associated Diploma of Fine Art from TAFE. He also completed a Printmaking and Education course at Southern Cross University at Lismore. He was the Winner of the Trustees’ Watercolour Prize as part of the Wynne Prize for landscape painting at Art Gallery of NSW in 2017, Finalist of NSW Plein Air Painting Prize and Finalist of Paddington Art Prize in 2016 and Finalist of Warringah Council Art Prize in 2015.  John Murray had also created a handmade ceramic tile installation for the outdoor bath at Newtown and was the illustrator for various magazines and journals.
‘My work is concerned with observation, from the beauty of our natural surroundings to the emotional landscape of my own internal being.  I try to paint without concern for time or difficulty involved in a proper description and finish a work when I have nothing left to add.
Art is a ghost, I say this because like a ghost it cannot really change anything except how we feel. It is just barely part of our physical world, the bulk of what it contains belongs to our ethereal selves, and its power is its ability to convey this information to a viewer. Even a bad feeling, if it is transferred forcefully to a viewer through a particular artwork, would be enough to have the artwork considered as a great artwork.
Art is a parallel world. A painting of a tree is not a tree. It cannot photosynthesise and it cannot change the physical world as a tree can. The art is not the paint or the canvas but what has been described or embedded in them. If someone is offended by an artwork and responds to this offence with another artwork, then very, very little in the physical world has changed. This makes art a safe place, particularly for conflict, providing that the conflict is not permitted to escape the confines of art and enter into a more physical world.
I can use art as a reason for seeing clearly, for examining and for describing. I can use it as a motive to search beyond the horizon of my ignorance for something that if it is described well, even the description will be of value.’
Publishing details: Art Atrium, Botany, NSW, 2021, 20pp (signed on last page.)
Ref: 145

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Murray John

Reference: Adventures of Tomorrow, Man
(catalogue in book form from exhibition 13 March - 27 March 2021.
From Art Atrium website:
\’John Murray
The Adventures of Tomorrow, man !
In:
Going to the patisserie, and beyond.
This exhibition carries in it 20 years of thought upon the subject of not doing things, of solving things by inaction. Its purpose is to polarise the world in a helpful way. It is not a new idea, there are many fine examples of it particularly in eastern spirituality. Inaction is the other control lever, the break to an accelerator, it is the space that accentuates an object, the slowing down to so as not to miss out. This exhibition is in a way a thesis, late as you could expect as it has as it’s subject the nature of not doing things.
On it’s uppermost level these comics promote an alternate hero to the existing pantheon of impressive proactive super hero’s, a hopeless hero, one that could barely even exist, really the opposite, infinity is where the edge is and infinity is full of holes but it is still infinity.
It is about that duality, the holes in infinity.
This is how an inactive superhero would save the world, if we could believe in them, as much as we believe in superman.
It is a collection of comics presented large and out of note book form for the first time at the Art Atrium gallery on March 13th by John Murray and introduced by Richard Laplastrier.
John Murray graduated with his Bachelor of Fine Art degree from College of Fine Art, University of NSW in 2000 after completing his Associated Diploma of Fine Art from TAFE. He also completed a Printmaking and Education course at Southern Cross University at Lismore. He was the Winner of the Trustees’ Watercolour Prize as part of the Wynne Prize for landscape painting at Art Gallery of NSW in 2017, Finalist of NSW Plein Air Painting Prize and Finalist of Paddington Art Prize in 2016 and Finalist of Warringah Council Art Prize in 2015.  John Murray had also created a handmade ceramic tile installation for the outdoor bath at Newtown and was the illustrator for various magazines and journals.
‘My work is concerned with observation, from the beauty of our natural surroundings to the emotional landscape of my own internal being.  I try to paint without concern for time or difficulty involved in a proper description and finish a work when I have nothing left to add.
Art is a ghost, I say this because like a ghost it cannot really change anything except how we feel. It is just barely part of our physical world, the bulk of what it contains belongs to our ethereal selves, and its power is its ability to convey this information to a viewer. Even a bad feeling, if it is transferred forcefully to a viewer through a particular artwork, would be enough to have the artwork considered as a great artwork.
Art is a parallel world. A painting of a tree is not a tree. It cannot photosynthesise and it cannot change the physical world as a tree can. The art is not the paint or the canvas but what has been described or embedded in them. If someone is offended by an artwork and responds to this offence with another artwork, then very, very little in the physical world has changed. This makes art a safe place, particularly for conflict, providing that the conflict is not permitted to escape the confines of art and enter into a more physical world.
I can use art as a reason for seeing clearly, for examining and for describing. I can use it as a motive to search beyond the horizon of my ignorance for something that if it is described well, even the description will be of value.’

Publishing details: Art Atrium, Botany, NSW, 2021, 20pp (signed on last page.)

Location: 145

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Lewers Margoview full entry

Reference: Margo Lewers - No Limits, by T. Crothers, G. Harper, D. Lewers. With index. [Artists who have more than one reference in the index to this book have been entered in the Scheding Index. To be indexed fully?].
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

Primarily known as an Abstract painter, Margo worked in a variety of other media that few artists would dare to tackle. In all aspects of her life 'she embraced modernism not as a style but an ideology for a new way of living.' This is represented in the holistic, integrated environment of her home at Emu Plains that has now become the Penrith Regional Art Gallery and Lewers Bequest. 

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.
Publishing details: Grasstree Press, 2022, hc, 224pp

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Lewers Margo

Reference: Margo Lewers - No Limits, by T. Crothers, G. Harper, D. Lewers. With index. [Artists who have more than one reference in the index to this book have been entered in the Scheding Index. To be indexed fully?].
20th century modernist artist Margo Lewers (1908-1978) refused to be constrained by the traditional roles of women as wives and mothers. While embracing the technological and social advances of a new era, she also challenged the convention of art as representation, believing that creativity required the expression of feelings and emotions. 

Primarily known as an Abstract painter, Margo worked in a variety of other media that few artists would dare to tackle. In all aspects of her life 'she embraced modernism not as a style but an ideology for a new way of living.' This is represented in the holistic, integrated environment of her home at Emu Plains that has now become the Penrith Regional Art Gallery and Lewers Bequest. 

First-hand, personal experiences and independent, original research by the authors of five essays bring new insights to the power and range of Margo's creativity.

Publishing details: Grasstree Press, 2022, hc, 224pp

Location: 0

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Cook Billview full entry

Reference: Bill Cook: A Deeper Beauty by Andrew Hill.

Obsessed by the human form, Bill Cook bucked the 1970s trend of abstract art, focusing instead on figurative painting and drawing during his art studies at the prestigious South Australian School of Art in North Adelaide. In addition to his paintings and drawings, he was soon producing political cartoons, caricatures and illustrations for a range of publications.

Over a career spanning five decades, he has produced a substantial oeuvre in a range of media and styles, most recently ceramic sculptures that combine 'the complexity of his painterly works with a multi-angled human ceramic canvas', and works that reference the 'exile, longing and marginalisation' of migration.

Bill's work is held in numerous public collections including the National Gallery of Victoria, several universities and in private collections nationally and internationally.
Publishing details: Wakefield Press, 2022. Hardback, 272 pages.
Ref: 1000

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Cook Bill

Reference: Bill Cook: A Deeper Beauty by Andrew Hill.

Obsessed by the human form, Bill Cook bucked the 1970s trend of abstract art, focusing instead on figurative painting and drawing during his art studies at the prestigious South Australian School of Art in North Adelaide. In addition to his paintings and drawings, he was soon producing political cartoons, caricatures and illustrations for a range of publications.

Over a career spanning five decades, he has produced a substantial oeuvre in a range of media and styles, most recently ceramic sculptures that combine 'the complexity of his painterly works with a multi-angled human ceramic canvas', and works that reference the 'exile, longing and marginalisation' of migration.

Bill's work is held in numerous public collections including the National Gallery of Victoria, several universities and in private collections nationally and internationally.

Publishing details: Wakefield Press, 2022. Hardback, 272 pages.

Location: 1000

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Beckett Clariceview full entry

Reference: The Worlds and Work of Clarice Beckett. By Edith M. Ziegler. Includes index and bibliography.
Clarice Beckett was one of Australia’s most important early Modernist painters, excelling in portraiture, still-life and landscape. The discovery of a trove of her artworks has led to her remarkable talent and evocative art being recognised afresh and greatly admired.
Clarice Beckett was self-effacing; she left no diaries or letters and was only occasionally mentioned in the diaries of her friends. For an insight into her enigmatic genius, Edith Ziegler focuses on Clarice’s family background, childhood; art education; philosophical, spiritual and psychological enquiries and influences; friendships and contacts. The reader is drawn into the world in which Clarice’s vision was formed and her talent developed.
Publishing details: Australian Scholarly Publishing, 2022,

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Beckett Clarice

Reference: The Worlds and Work of Clarice Beckett. By Edith M. Ziegler. Includes index and bibliography.
Clarice Beckett was one of Australia’s most important early Modernist painters, excelling in portraiture, still-life and landscape. The discovery of a trove of her artworks has led to her remarkable talent and evocative art being recognised afresh and greatly admired.
Clarice Beckett was self-effacing; she left no diaries or letters and was only occasionally mentioned in the diaries of her friends. For an insight into her enigmatic genius, Edith Ziegler focuses on Clarice’s family background, childhood; art education; philosophical, spiritual and psychological enquiries and influences; friendships and contacts. The reader is drawn into the world in which Clarice’s vision was formed and her talent developed.

Publishing details: Australian Scholarly Publishing, 2022,

Location: 0

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Australian Painters In Etaplesview full entry

Reference: Australian Painters In Etaples, by Jean-Claude Lesage. [This is a reprint, in English, of Peintres Australiens a Etaples, by Jean Claude Lesage, with additiuonal illustrations. Originally published in French, however, an English translation by Pauline Le Borgne was printed in loose sheet form later, with the purpose of being inserted.]
In 1900, 30 Australian artists were working in Etaples, a French fishing village west of Paris. Charles Conder, Rupert Bunny, Isobel Rae and John Peter Russell were among these who lived and worked in France.
Publishing details: ETT IMPRINT, Bondi Junction, NSW, 2022, pb, 85pp

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Australian Painters In Etaples

Reference: Australian Painters In Etaples, by Jean-Claude Lesage. [This is a reprint, in English, of Peintres Australiens a Etaples, by Jean Claude Lesage, with additiuonal illustrations. Originally published in French, however, an English translation by Pauline Le Borgne was printed in loose sheet form later, with the purpose of being inserted.]
In 1900, 30 Australian artists were working in Etaples, a French fishing village west of Paris. Charles Conder, Rupert Bunny, Isobel Rae and John Peter Russell were among these who lived and worked in France.

Publishing details: ETT IMPRINT, Bondi Junction, NSW, 2022, pb, 85pp

Location: 0

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Brewer Rhettview full entry

Reference: see Day Gallery preess release 8.8.22:
Introducing Blue Mountains artist Rhett Brewer to Day Gallery
 

Rhett Brewer is a painter who works mostly with the Australian landscape as a plein air and studio painter. Trained in an environment that encouraged self-expression he incorporates elements of colour field painting, Pop, Surrealism and mid twentieth Century Modernism into his Romantic interpretations of the Australian outdoor environment. Nature for this artist is always in flux and rhythm and pattern are given high priority.

He has held over twenty solo shows along the East coast of Australia, been selected in Art Prizes notably twice selected into the Sulman Prize at the AGNSW, taught painting in universities in Australia and the UK and been in many group exhibitions. He lives and works in The Blue Mountains.

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Brewer Rhett

Reference: see Day Gallery preess release 8.8.22:
Introducing Blue Mountains artist Rhett Brewer to Day Gallery
 

Rhett Brewer is a painter who works mostly with the Australian landscape as a plein air and studio painter. Trained in an environment that encouraged self-expression he incorporates elements of colour field painting, Pop, Surrealism and mid twentieth Century Modernism into his Romantic interpretations of the Australian outdoor environment. Nature for this artist is always in flux and rhythm and pattern are given high priority.

He has held over twenty solo shows along the East coast of Australia, been selected in Art Prizes notably twice selected into the Sulman Prize at the AGNSW, taught painting in universities in Australia and the UK and been in many group exhibitions. He lives and works in The Blue Mountains.

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Anderson Jamesview full entry

Reference: see Australian Dictionary of Biography entry on William Macleod (1850–1929), by B. G. Andrews:
‘’William Macleod (1850-1929), artist and businessman, was born on 27 October 1850 in London, son of William Macleod, cordwainer, and his wife Juliana, née Exness (or Esner). The family followed the gold rush to Victoria and after her husband's death in 1855 Julia settled in Sydney, where she married the portrait painter James Anderson. His drinking excesses caused Macleod to seek work from the age of 12; trained by Edmund Thomas at the Sydney Mechanics' School of Arts and known first as William Macleod Anderson or James Anderson junior, he had his first artistic contribution published in 1866 in the Illustrated Sydney News. Over the next decade he travelled widely and won a reputation as a painter of portraits and cattle, a designer of stained-glass windows, and as illustrator with a strong line for such journals as the Sydney Mail, the Australian Town and Country Journal and Sydney and Queensland Punch. On 29 January 1873 he married Emily Collins at St Mary's Cathedral, Sydney....’

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Anderson James

Reference: see Australian Dictionary of Biography entry on William Macleod (1850–1929), by B. G. Andrews:
‘’William Macleod (1850-1929), artist and businessman, was born on 27 October 1850 in London, son of William Macleod, cordwainer, and his wife Juliana, née Exness (or Esner). The family followed the gold rush to Victoria and after her husband's death in 1855 Julia settled in Sydney, where she married the portrait painter James Anderson. His drinking excesses caused Macleod to seek work from the age of 12; trained by Edmund Thomas at the Sydney Mechanics' School of Arts and known first as William Macleod Anderson or James Anderson junior, he had his first artistic contribution published in 1866 in the Illustrated Sydney News. Over the next decade he travelled widely and won a reputation as a painter of portraits and cattle, a designer of stained-glass windows, and as illustrator with a strong line for such journals as the Sydney Mail, the Australian Town and Country Journal and Sydney and Queensland Punch. On 29 January 1873 he married Emily Collins at St Mary's Cathedral, Sydney....’

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Anderson William McLeodview full entry

Reference: This is William McLeod of the Bulletin - see Australian Dictionary of Biography entry on William Macleod (1850–1929), by B. G. Andrews:
‘’William Macleod (1850-1929), artist and businessman, was born on 27 October 1850 in London, son of William Macleod, cordwainer, and his wife Juliana, née Exness (or Esner). The family followed the gold rush to Victoria and after her husband's death in 1855 Julia settled in Sydney, where she married the portrait painter James Anderson. His drinking excesses caused Macleod to seek work from the age of 12; trained by Edmund Thomas at the Sydney Mechanics' School of Arts and known first as William Macleod Anderson or James Anderson junior, he had his first artistic contribution published in 1866 in the Illustrated Sydney News. Over the next decade he travelled widely and won a reputation as a painter of portraits and cattle, a designer of stained-glass windows, and as illustrator with a strong line for such journals as the Sydney Mail, the Australian Town and Country Journal and Sydney and Queensland Punch. On 29 January 1873 he married Emily Collins at St Mary's Cathedral, Sydney....’

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Anderson William McLeod

Reference: This is William McLeod of the Bulletin - see Australian Dictionary of Biography entry on William Macleod (1850–1929), by B. G. Andrews:
‘’William Macleod (1850-1929), artist and businessman, was born on 27 October 1850 in London, son of William Macleod, cordwainer, and his wife Juliana, née Exness (or Esner). The family followed the gold rush to Victoria and after her husband's death in 1855 Julia settled in Sydney, where she married the portrait painter James Anderson. His drinking excesses caused Macleod to seek work from the age of 12; trained by Edmund Thomas at the Sydney Mechanics' School of Arts and known first as William Macleod Anderson or James Anderson junior, he had his first artistic contribution published in 1866 in the Illustrated Sydney News. Over the next decade he travelled widely and won a reputation as a painter of portraits and cattle, a designer of stained-glass windows, and as illustrator with a strong line for such journals as the Sydney Mail, the Australian Town and Country Journal and Sydney and Queensland Punch. On 29 January 1873 he married Emily Collins at St Mary's Cathedral, Sydney....’

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Begg Samuelview full entry

Reference: see Australian Dictionary of Biography entry on William Macleod (1850–1929), by B. G. Andrews:
‘William Macleod (1850-1929), artist and businessman, was born on 27 October 1850 in London, son of William Macleod, cordwainer, and his wife Juliana, née Exness (or Esner). The family followed the gold rush to Victoria and after her husband's death in 1855 Julia settled in Sydney, where she married the portrait painter James Anderson. His drinking excesses caused Macleod to seek work from the age of 12; trained by Edmund Thomas at the Sydney Mechanics' School of Arts and known first as William Macleod Anderson or James Anderson junior, he had his first artistic contribution published in 1866 in the Illustrated Sydney News. Over the next decade he travelled widely and won a reputation as a painter of portraits and cattle, a designer of stained-glass windows, and as illustrator with a strong line for such journals as the Sydney Mail, the Australian Town and Country Journal and Sydney and Queensland Punch. On 29 January 1873 he married Emily Collins at St Mary's Cathedral, Sydney.
In January 1880 Macleod illustrated the first lead-story of the new Sydney Bulletin. In March he and another artist, Samuel Begg, jointly secured a third share in the journal but relinquished it when the financial affairs of J. F. Archibald and John Haynes improved. A prominent freelance contributor of robust cartoons to the Bulletin and the designer of its new pink cover in 1883, Macleod purchased part of Haynes's holding in April 1884. After extensive involvement in the Picturesque atlas of Australasia (1886) project—he executed many of the portraits used and was chairman of its publishing company—Macleod joined the Bulletin full time in 1886 in response to a plea from Archibald following the departure of W. H. Traill. They became joint owners in 1887; Macleod was the Bulletin's manager or managing director for the next forty years...’

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Begg Samuel

Reference: see Australian Dictionary of Biography entry on William Macleod (1850–1929), by B. G. Andrews:
‘William Macleod (1850-1929), artist and businessman, was born on 27 October 1850 in London, son of William Macleod, cordwainer, and his wife Juliana, née Exness (or Esner). The family followed the gold rush to Victoria and after her husband's death in 1855 Julia settled in Sydney, where she married the portrait painter James Anderson. His drinking excesses caused Macleod to seek work from the age of 12; trained by Edmund Thomas at the Sydney Mechanics' School of Arts and known first as William Macleod Anderson or James Anderson junior, he had his first artistic contribution published in 1866 in the Illustrated Sydney News. Over the next decade he travelled widely and won a reputation as a painter of portraits and cattle, a designer of stained-glass windows, and as illustrator with a strong line for such journals as the Sydney Mail, the Australian Town and Country Journal and Sydney and Queensland Punch. On 29 January 1873 he married Emily Collins at St Mary's Cathedral, Sydney.
In January 1880 Macleod illustrated the first lead-story of the new Sydney Bulletin. In March he and another artist, Samuel Begg, jointly secured a third share in the journal but relinquished it when the financial affairs of J. F. Archibald and John Haynes improved. A prominent freelance contributor of robust cartoons to the Bulletin and the designer of its new pink cover in 1883, Macleod purchased part of Haynes's holding in April 1884. After extensive involvement in the Picturesque atlas of Australasia (1886) project—he executed many of the portraits used and was chairman of its publishing company—Macleod joined the Bulletin full time in 1886 in response to a plea from Archibald following the departure of W. H. Traill. They became joint owners in 1887; Macleod was the Bulletin's manager or managing director for the next forty years...’

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Hall Fionaview full entry

Reference: see Studies in contemporary Australian sculptural practice: Hilarie Mais and Fiona Hall, by AE Sanders.
A thesis submitted for the degree of Master of Arts of the Australian National University.
Publishing details: Department of Art History The Australian National University, November 2004

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Hall Fiona

Reference: see Studies in contemporary Australian sculptural practice: Hilarie Mais and Fiona Hall, by AE Sanders.
A thesis submitted for the degree of Master of Arts of the Australian National University.

Publishing details: Department of Art History The Australian National University, November 2004

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Mais Hillaryview full entry

Reference: see Studies in contemporary Australian sculptural practice: Hilarie Mais and Fiona Hall, by AE Sanders.
A thesis submitted for the degree of Master of Arts of the Australian National University.
Publishing details: Department of Art History The Australian National University, November 2004

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Mais Hillary

Reference: see Studies in contemporary Australian sculptural practice: Hilarie Mais and Fiona Hall, by AE Sanders.
A thesis submitted for the degree of Master of Arts of the Australian National University.

Publishing details: Department of Art History The Australian National University, November 2004

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Aradon Pty Ltdview full entry

Reference: see SA Australiana Study Group 80th Meeting, 7 July 2022:
Two cast models of echidnas, probably contemporary.
Length (top) 32mm, (bottom) 30mm.
3
The top example in pewter was apparently produced by Aradon Pty Ltd at their Mt. Hay Gemstone Tourist Park in Queensland, a company better known as a miner and seller of decorative stones and geological specimens, which are exported as both rough and polished pieces. A range of Australian themed cast pewter souvenirs and gifts are made on site, including animal models such as the echidna.
The lower echidna with the golden finish seems to have been marketed by Kingfisher Brands, which claims to have its home in Victoria. That company also produced a wide range of similar souvenir flora and fauna to Aradon in Queensland, and say that they sell their products around the world. They claim to “...work with ethical manufacturers across Australia, Asia, Europe, to ... provide quality products”. Both models appear to have the same marking, apparently a stylized “SB”
Publishing details: https://www.australiana.org.au/resources/SA%20Report%2080%20July%202022.pdf

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Aradon Pty Ltd

Reference: see SA Australiana Study Group 80th Meeting, 7 July 2022:
Two cast models of echidnas, probably contemporary.
Length (top) 32mm, (bottom) 30mm.
3
The top example in pewter was apparently produced by Aradon Pty Ltd at their Mt. Hay Gemstone Tourist Park in Queensland, a company better known as a miner and seller of decorative stones and geological specimens, which are exported as both rough and polished pieces. A range of Australian themed cast pewter souvenirs and gifts are made on site, including animal models such as the echidna.
The lower echidna with the golden finish seems to have been marketed by Kingfisher Brands, which claims to have its home in Victoria. That company also produced a wide range of similar souvenir flora and fauna to Aradon in Queensland, and say that they sell their products around the world. They claim to “...work with ethical manufacturers across Australia, Asia, Europe, to ... provide quality products”. Both models appear to have the same marking, apparently a stylized “SB”

Publishing details: https://www.australiana.org.au/resources/SA%20Report%2080%20July%202022.pdf

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Kingfisher Brandsview full entry

Reference: see SA Australiana Study Group 80th Meeting, 7 July 2022:
Two cast models of echidnas, probably contemporary.
Length (top) 32mm, (bottom) 30mm.
3
The top example in pewter was apparently produced by Aradon Pty Ltd at their Mt. Hay Gemstone Tourist Park in Queensland, a company better known as a miner and seller of decorative stones and geological specimens, which are exported as both rough and polished pieces. A range of Australian themed cast pewter souvenirs and gifts are made on site, including animal models such as the echidna.
The lower echidna with the golden finish seems to have been marketed by Kingfisher Brands, which claims to have its home in Victoria. That company also produced a wide range of similar souvenir flora and fauna to Aradon in Queensland, and say that they sell their products around the world. They claim to “...work with ethical manufacturers across Australia, Asia, Europe, to ... provide quality products”. Both models appear to have the same marking, apparently a stylized “SB”
Publishing details: https://www.australiana.org.au/resources/SA%20Report%2080%20July%202022.pdf

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Kingfisher Brands

Reference: see SA Australiana Study Group 80th Meeting, 7 July 2022:
Two cast models of echidnas, probably contemporary.
Length (top) 32mm, (bottom) 30mm.
3
The top example in pewter was apparently produced by Aradon Pty Ltd at their Mt. Hay Gemstone Tourist Park in Queensland, a company better known as a miner and seller of decorative stones and geological specimens, which are exported as both rough and polished pieces. A range of Australian themed cast pewter souvenirs and gifts are made on site, including animal models such as the echidna.
The lower echidna with the golden finish seems to have been marketed by Kingfisher Brands, which claims to have its home in Victoria. That company also produced a wide range of similar souvenir flora and fauna to Aradon in Queensland, and say that they sell their products around the world. They claim to “...work with ethical manufacturers across Australia, Asia, Europe, to ... provide quality products”. Both models appear to have the same marking, apparently a stylized “SB”

Publishing details: https://www.australiana.org.au/resources/SA%20Report%2080%20July%202022.pdf

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Pointer S T view full entry

Reference: see SA Australiana Study Group 80th Meeting, 7 July 2022:
South Australian School of Mines and Industries.
Souvenir of the Complimentary Dinner tendered to Sir Langdon Bonython, 1929.
Well known South Australian resident, Sir John Langdon Bonython (1848-1939) was an English born philanthropist, editor and newspaper proprietor. As the second son of a carpenter/builder, Bonython became particularly interested in technical education and was on the board of both the South Australian School of Mines, Roseworthy Agricultural College and the University of Adelaide. Amongst his many other achievements, he left considerable funds to the University of Adelaide for a chair of law and the erection of Bonython Hall, the School of Mines and he paid for the completion of South Australia’s Parliament House. He also assisted the government to pay civil servant salaries during a financial crisis and distributed meal tickets to the needy.
On the 19th October, 1929, Sir Langdon Bonython was presented with an illuminated address to mark the completion of his fortieth consecutive year of office as President of the Council of the School of Mines. The illuminated address was designed and bound by the South Australian School of Arts staff member Mr S.T. Pointer and Principal, Lawrence Hotham Howie. The School of Arts was previously known under other names such as the Adelaide School of Design and was also on North Terrace, next to the School of Mines.
This illustrated souvenir booklet was presented to each of the 120 guests. The illuminated address had watercolour illustrations placed opposite each page of signatures. Although the souvenir booklet was not in colour, it included reproductions of the frontispiece and back page illustrations, both of which unmistakably convey the distinct design style of the Adelaide School of Design featuring Australian flora in a decorative border.

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Pointer S T

Reference: see SA Australiana Study Group 80th Meeting, 7 July 2022:
South Australian School of Mines and Industries.
Souvenir of the Complimentary Dinner tendered to Sir Langdon Bonython, 1929.
Well known South Australian resident, Sir John Langdon Bonython (1848-1939) was an English born philanthropist, editor and newspaper proprietor. As the second son of a carpenter/builder, Bonython became particularly interested in technical education and was on the board of both the South Australian School of Mines, Roseworthy Agricultural College and the University of Adelaide. Amongst his many other achievements, he left considerable funds to the University of Adelaide for a chair of law and the erection of Bonython Hall, the School of Mines and he paid for the completion of South Australia’s Parliament House. He also assisted the government to pay civil servant salaries during a financial crisis and distributed meal tickets to the needy.
On the 19th October, 1929, Sir Langdon Bonython was presented with an illuminated address to mark the completion of his fortieth consecutive year of office as President of the Council of the School of Mines. The illuminated address was designed and bound by the South Australian School of Arts staff member Mr S.T. Pointer and Principal, Lawrence Hotham Howie. The School of Arts was previously known under other names such as the Adelaide School of Design and was also on North Terrace, next to the School of Mines.
This illustrated souvenir booklet was presented to each of the 120 guests. The illuminated address had watercolour illustrations placed opposite each page of signatures. Although the souvenir booklet was not in colour, it included reproductions of the frontispiece and back page illustrations, both of which unmistakably convey the distinct design style of the Adelaide School of Design featuring Australian flora in a decorative border.

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Howie Lawrence Hotham view full entry

Reference: see SA Australiana Study Group 80th Meeting, 7 July 2022:
South Australian School of Mines and Industries.
Souvenir of the Complimentary Dinner tendered to Sir Langdon Bonython, 1929.
Well known South Australian resident, Sir John Langdon Bonython (1848-1939) was an English born philanthropist, editor and newspaper proprietor. As the second son of a carpenter/builder, Bonython became particularly interested in technical education and was on the board of both the South Australian School of Mines, Roseworthy Agricultural College and the University of Adelaide. Amongst his many other achievements, he left considerable funds to the University of Adelaide for a chair of law and the erection of Bonython Hall, the School of Mines and he paid for the completion of South Australia’s Parliament House. He also assisted the government to pay civil servant salaries during a financial crisis and distributed meal tickets to the needy.
On the 19th October, 1929, Sir Langdon Bonython was presented with an illuminated address to mark the completion of his fortieth consecutive year of office as President of the Council of the School of Mines. The illuminated address was designed and bound by the South Australian School of Arts staff member Mr S.T. Pointer and Principal, Lawrence Hotham Howie. The School of Arts was previously known under other names such as the Adelaide School of Design and was also on North Terrace, next to the School of Mines.
This illustrated souvenir booklet was presented to each of the 120 guests. The illuminated address had watercolour illustrations placed opposite each page of signatures. Although the souvenir booklet was not in colour, it included reproductions of the frontispiece and back page illustrations, both of which unmistakably convey the distinct design style of the Adelaide School of Design featuring Australian flora in a decorative border.

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Howie Lawrence Hotham

Reference: see SA Australiana Study Group 80th Meeting, 7 July 2022:
South Australian School of Mines and Industries.
Souvenir of the Complimentary Dinner tendered to Sir Langdon Bonython, 1929.
Well known South Australian resident, Sir John Langdon Bonython (1848-1939) was an English born philanthropist, editor and newspaper proprietor. As the second son of a carpenter/builder, Bonython became particularly interested in technical education and was on the board of both the South Australian School of Mines, Roseworthy Agricultural College and the University of Adelaide. Amongst his many other achievements, he left considerable funds to the University of Adelaide for a chair of law and the erection of Bonython Hall, the School of Mines and he paid for the completion of South Australia’s Parliament House. He also assisted the government to pay civil servant salaries during a financial crisis and distributed meal tickets to the needy.
On the 19th October, 1929, Sir Langdon Bonython was presented with an illuminated address to mark the completion of his fortieth consecutive year of office as President of the Council of the School of Mines. The illuminated address was designed and bound by the South Australian School of Arts staff member Mr S.T. Pointer and Principal, Lawrence Hotham Howie. The School of Arts was previously known under other names such as the Adelaide School of Design and was also on North Terrace, next to the School of Mines.
This illustrated souvenir booklet was presented to each of the 120 guests. The illuminated address had watercolour illustrations placed opposite each page of signatures. Although the souvenir booklet was not in colour, it included reproductions of the frontispiece and back page illustrations, both of which unmistakably convey the distinct design style of the Adelaide School of Design featuring Australian flora in a decorative border.

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Hewitt Charles photographer view full entry

Reference: see SA Australiana Study Group 80th Meeting, 7 July 2022:
“Mary Ann and Joseph Jewell - survivors of the General Grant shipwreck”, February 1868, carte de visite photograph, Charles Hewitt, Melbourne. 10 x 6 cm.
In May 1866, the General Grant sailed from Melbourne on a voyage to London, via Cape Horn, with a cargo of zinc, gold and wool, plus eighty-three passengers and crew. Following a north-west wind they travelled 450 kilometres south of New Zealand, and into the latitudes of the "furious fifties". Strangely becalmed one night, land was sighted dead ahead. With no wind to work, the ocean swell carried the ship to the cliffs of the sub-Antarctic Auckland Islands. She lost the rudder and bowsprit before drifting into a large sea-cave. For the remainder of the night, the masts in contact with the cave roof, brought down rigging and rock. By daylight, and in rising wind and seas, an evacuation began using the ship's boats. Mary Ann Jewell fell into the water and made it to one but couldn't be lifted from the water. Joseph jumped off the ship to get her in. The mainmast broke away and the ship went further into the cave where the foremast, wedged against the roof, was pushed back through the keel and the ship began to sink. A third boat was floated off the flooding deck with forty people but capsized. Three members swam through breaking waves to the boats waiting beyond. The captain was on the mizzenmast waving a farewell as the ship sank and all remaining were drowned.
The now fifteen survivors rowed and bailed until a beach was found the next day. With only two matches, the second started a fire that was continuously kept alight for their eighteen months as castaways. Abandoned sealer's huts were repaired. Rabbits, pigs, goats, birds, seals and fish were caught. Clothing was fashioned from wild flax and seal-skins. Lookouts were posted, bonfires built ready to light and messages were carved on timber and
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thrown into the sea (one was found five years later in New Zealand). Four men left in one boat in an attempt to reach New Zealand but were never seen again. An older member died on the island. In November 1867, a whaling ship called in at the island and the remaining ten were rescued. They arrived back in Melbourne in January 1868.
A month later photographer Charles Hewitt (possibly a relative of Mary Ann Jewell, nee Hewitt) photographed a number of the castaways in his Swanston Street studio. The papers of the day noted they would soon be for sale as souvenirs. Curiously, all those photographed had kept their seal-skin clothing.
In the following years the Jewells moved around rural Victoria with Joseph employed as a railway-station master. In 1883 Joseph recognised a group of men on the railway platform as wanted bank-robbers, raised the alarm, and organised armed locals to surround them until police arrived. He died near Bridgewater on Loddon in 1898, and Mary at Port Fairy in 1907.
Numerous attempts have been made to recover the gold from the "General Grant" (worth about $7 million) but, so far, nothing has been found.

×

Hewitt Charles photographer

Reference: see SA Australiana Study Group 80th Meeting, 7 July 2022:
“Mary Ann and Joseph Jewell - survivors of the General Grant shipwreck”, February 1868, carte de visite photograph, Charles Hewitt, Melbourne. 10 x 6 cm.
In May 1866, the General Grant sailed from Melbourne on a voyage to London, via Cape Horn, with a cargo of zinc, gold and wool, plus eighty-three passengers and crew. Following a north-west wind they travelled 450 kilometres south of New Zealand, and into the latitudes of the "furious fifties". Strangely becalmed one night, land was sighted dead ahead. With no wind to work, the ocean swell carried the ship to the cliffs of the sub-Antarctic Auckland Islands. She lost the rudder and bowsprit before drifting into a large sea-cave. For the remainder of the night, the masts in contact with the cave roof, brought down rigging and rock. By daylight, and in rising wind and seas, an evacuation began using the ship's boats. Mary Ann Jewell fell into the water and made it to one but couldn't be lifted from the water. Joseph jumped off the ship to get her in. The mainmast broke away and the ship went further into the cave where the foremast, wedged against the roof, was pushed back through the keel and the ship began to sink. A third boat was floated off the flooding deck with forty people but capsized. Three members swam through breaking waves to the boats waiting beyond. The captain was on the mizzenmast waving a farewell as the ship sank and all remaining were drowned.
The now fifteen survivors rowed and bailed until a beach was found the next day. With only two matches, the second started a fire that was continuously kept alight for their eighteen months as castaways. Abandoned sealer's huts were repaired. Rabbits, pigs, goats, birds, seals and fish were caught. Clothing was fashioned from wild flax and seal-skins. Lookouts were posted, bonfires built ready to light and messages were carved on timber and
9
thrown into the sea (one was found five years later in New Zealand). Four men left in one boat in an attempt to reach New Zealand but were never seen again. An older member died on the island. In November 1867, a whaling ship called in at the island and the remaining ten were rescued. They arrived back in Melbourne in January 1868.
A month later photographer Charles Hewitt (possibly a relative of Mary Ann Jewell, nee Hewitt) photographed a number of the castaways in his Swanston Street studio. The papers of the day noted they would soon be for sale as souvenirs. Curiously, all those photographed had kept their seal-skin clothing.
In the following years the Jewells moved around rural Victoria with Joseph employed as a railway-station master. In 1883 Joseph recognised a group of men on the railway platform as wanted bank-robbers, raised the alarm, and organised armed locals to surround them until police arrived. He died near Bridgewater on Loddon in 1898, and Mary at Port Fairy in 1907.
Numerous attempts have been made to recover the gold from the "General Grant" (worth about $7 million) but, so far, nothing has been found.

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Jurs Ellaview full entry

Reference: see SA Australiana Study Group 80th Meeting, 7 July 2022:
A small sketchbook by Ella Jurs; an outline based on newspaper reports of the time.
Philip Jones
A few months ago I purchased at auction a small ‘autograph book’, sight unseen. This turned out to be a sketchbook, containing 25 pencil sketches. Each sketch is dated and signed ‘Ella Jurs’. Sixteen of the sketches are dated between 9-12 August 1906 and the remaining nine sketches are dated between February and March 1907. The sketches are mostly portraits
12
of young women in in theatrical and studied poses, such as ‘Lady Disdain’, ‘Sincerity’ or ‘A Country Belle’. One of the more dramatic sketches, depicting a young woman with a sweeping mane of hair is captioned ‘Jane Oaker’: she was a prominent American actress at the turn of the 20th century. Another sketch depicts a lover’s tiff, simply titled ‘Tears’, suggestive of a scene from a play. In that vein one of the more elaborate sketches shows a young woman kneeling at an overgrown grave, captioned ‘The grave in the jungle’. Four sketches depict men: ‘A Sculptor’, ‘Un Artiste’, a languorous figure smoking on a couch and a bearded man in profile. Two sketches depict watercraft under sail.
The small sketchbook has a title page, inscribed in pencil: ‘Sketches done during August 1906 and March 1907. Ella Jurs. Port Adelaide’. Ella Jurs was one of four daughters of Dr J.C.G. Jurs, who served a term as Mayor of Port Adelaide during the first years of the century. He was a successful surgeon, born in Denmark in 1839, who had graduated in medicine at Gottingen, Germany and arrived in Australia (Moreton Bay) in 1862. He had travelled widely in Queensland, working as a surgeon, before arriving at Port Adelaide in 1885. There he had built a successful practice, serving as surgeon to 33 masonic lodges, according to newspaper reports. He was successful in the 1902 mayoral election. By that time he and his wife had four daughters in their teens, Florence, Carlein, Ella and Vera. Each had considerable musical ability and by 1902 all had been accepted to study at the Conservatorium of Music in Adelaide. Ella and Vera were both accomplished violinists, but by this time Ella was also becoming known for her artistic talent. Following the death of Queen Victoria in 1901, Mayor Jurs and his councillors resolved to acquire a portrait of the late Queen for the Port Adelaide Council chamber and were about to commission a work, when Ella produced her own portrait of Queen Victoria and this was admired and gratefully accepted. A few months later she produced another, full length, portrait of the late Queen and presented this to the Port Adelaide Art Gallery.
From 1902 to 1903 Ella continued to sketch and paint, studying at James Ashton’s art school in Adelaide, receiving tuition also from G.A.J. Webb and Hans Heysen. With a career as an artist in mind, she travelled to England in 1903 to study at the Royal School of Drawing in London. She graduated with three honours and one pass in April 1904, and returned to Australia, where she began working up material for a solo exhibition. This was opened in September 1906 at a gallery in Commercial Chambers, King William Street. The exhibition contained 35 of her portraits, seascapes and classically-themed pictures, in oils, watercolours, charcoal and crayon sketches. Interestingly, this exhibition took place just after the first sixteen images in her little sketchbook had been completed. In that light, it is possible that one of these sketches, a full length study of a woman in a long dress, may have been a preparatory sketch for her entry in James Ashton’s student competition later in 1907. Another portrait sketch may depict her father. The remaining nine images, sketched in February and March 1907, seem more highly finished and complex. Despite that clear improvement, it seems that Ella Jurs was already turning from art to the theatre and to musical performance.
So far I have not been able to pin down Ella’s age. It would seem that she was about sixteen when she presented her first portrait of Queen Victoria to the Port Adelaide Council, so that by the time she filled her little sketchbook in 1907 she may have been about 21 years. It would seem that her 1906 exhibition was something of a watershed in her career, for after that time there are no newspaper records of her participation in art exhibitions, save for the ‘ambitious entry’ of a full-length portrait of her mother in James Ashton’s student competition in 1907. It did not win a prize. She began participating more in musical soirées
13

and theatrical performances, as a member of the University’s Shakespeare Company. In 1915 she began contributing short stories, often melodramatic in nature, to Adelaide newspapers. At this time also, she began managing the programmes for the Lyric Club, often contributing spoken monologues and addresses in their evening performances.
At this stage I have not established whether artworks by Ella Jurs are held by any of Adelaide’s art collecting institutions. The Port Adelaide Art Gallery seems to have ceased operations before 1910. Ella’s portraits of Queen Victoria and of the Governor-General Lord Tennyson have not been traced. She can be regarded therefore, as one of Adelaide’s lesser artistic lights, who flared briefly before turning her attention to other pursuits. She married late, in 1939, when she was probably close to 50 years old. Her husband was Clarence Schultz, of Lobethal, but it appears that the marriage may not have lasted. The final reference to Ella Jurs, in Adelaide newspapers at least, was to a theft of cash from her home in Hutt Street in 1942, suggesting that she may have been living there alone. At that time she had become the Honorary Secretary for the South Australian Branch of the Australian Writers Association.
This small ‘Autograph’ book with 25 sketches by Ella Jurs can be regarded as a unique insight into the cosmopolitan world of Adelaide theatre and art by one member of a gifted Port Adelaide family.

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Jurs Ella

Reference: see SA Australiana Study Group 80th Meeting, 7 July 2022:
A small sketchbook by Ella Jurs; an outline based on newspaper reports of the time.
Philip Jones
A few months ago I purchased at auction a small ‘autograph book’, sight unseen. This turned out to be a sketchbook, containing 25 pencil sketches. Each sketch is dated and signed ‘Ella Jurs’. Sixteen of the sketches are dated between 9-12 August 1906 and the remaining nine sketches are dated between February and March 1907. The sketches are mostly portraits
12
of young women in in theatrical and studied poses, such as ‘Lady Disdain’, ‘Sincerity’ or ‘A Country Belle’. One of the more dramatic sketches, depicting a young woman with a sweeping mane of hair is captioned ‘Jane Oaker’: she was a prominent American actress at the turn of the 20th century. Another sketch depicts a lover’s tiff, simply titled ‘Tears’, suggestive of a scene from a play. In that vein one of the more elaborate sketches shows a young woman kneeling at an overgrown grave, captioned ‘The grave in the jungle’. Four sketches depict men: ‘A Sculptor’, ‘Un Artiste’, a languorous figure smoking on a couch and a bearded man in profile. Two sketches depict watercraft under sail.
The small sketchbook has a title page, inscribed in pencil: ‘Sketches done during August 1906 and March 1907. Ella Jurs. Port Adelaide’. Ella Jurs was one of four daughters of Dr J.C.G. Jurs, who served a term as Mayor of Port Adelaide during the first years of the century. He was a successful surgeon, born in Denmark in 1839, who had graduated in medicine at Gottingen, Germany and arrived in Australia (Moreton Bay) in 1862. He had travelled widely in Queensland, working as a surgeon, before arriving at Port Adelaide in 1885. There he had built a successful practice, serving as surgeon to 33 masonic lodges, according to newspaper reports. He was successful in the 1902 mayoral election. By that time he and his wife had four daughters in their teens, Florence, Carlein, Ella and Vera. Each had considerable musical ability and by 1902 all had been accepted to study at the Conservatorium of Music in Adelaide. Ella and Vera were both accomplished violinists, but by this time Ella was also becoming known for her artistic talent. Following the death of Queen Victoria in 1901, Mayor Jurs and his councillors resolved to acquire a portrait of the late Queen for the Port Adelaide Council chamber and were about to commission a work, when Ella produced her own portrait of Queen Victoria and this was admired and gratefully accepted. A few months later she produced another, full length, portrait of the late Queen and presented this to the Port Adelaide Art Gallery.
From 1902 to 1903 Ella continued to sketch and paint, studying at James Ashton’s art school in Adelaide, receiving tuition also from G.A.J. Webb and Hans Heysen. With a career as an artist in mind, she travelled to England in 1903 to study at the Royal School of Drawing in London. She graduated with three honours and one pass in April 1904, and returned to Australia, where she began working up material for a solo exhibition. This was opened in September 1906 at a gallery in Commercial Chambers, King William Street. The exhibition contained 35 of her portraits, seascapes and classically-themed pictures, in oils, watercolours, charcoal and crayon sketches. Interestingly, this exhibition took place just after the first sixteen images in her little sketchbook had been completed. In that light, it is possible that one of these sketches, a full length study of a woman in a long dress, may have been a preparatory sketch for her entry in James Ashton’s student competition later in 1907. Another portrait sketch may depict her father. The remaining nine images, sketched in February and March 1907, seem more highly finished and complex. Despite that clear improvement, it seems that Ella Jurs was already turning from art to the theatre and to musical performance.
So far I have not been able to pin down Ella’s age. It would seem that she was about sixteen when she presented her first portrait of Queen Victoria to the Port Adelaide Council, so that by the time she filled her little sketchbook in 1907 she may have been about 21 years. It would seem that her 1906 exhibition was something of a watershed in her career, for after that time there are no newspaper records of her participation in art exhibitions, save for the ‘ambitious entry’ of a full-length portrait of her mother in James Ashton’s student competition in 1907. It did not win a prize. She began participating more in musical soirées
13

and theatrical performances, as a member of the University’s Shakespeare Company. In 1915 she began contributing short stories, often melodramatic in nature, to Adelaide newspapers. At this time also, she began managing the programmes for the Lyric Club, often contributing spoken monologues and addresses in their evening performances.
At this stage I have not established whether artworks by Ella Jurs are held by any of Adelaide’s art collecting institutions. The Port Adelaide Art Gallery seems to have ceased operations before 1910. Ella’s portraits of Queen Victoria and of the Governor-General Lord Tennyson have not been traced. She can be regarded therefore, as one of Adelaide’s lesser artistic lights, who flared briefly before turning her attention to other pursuits. She married late, in 1939, when she was probably close to 50 years old. Her husband was Clarence Schultz, of Lobethal, but it appears that the marriage may not have lasted. The final reference to Ella Jurs, in Adelaide newspapers at least, was to a theft of cash from her home in Hutt Street in 1942, suggesting that she may have been living there alone. At that time she had become the Honorary Secretary for the South Australian Branch of the Australian Writers Association.
This small ‘Autograph’ book with 25 sketches by Ella Jurs can be regarded as a unique insight into the cosmopolitan world of Adelaide theatre and art by one member of a gifted Port Adelaide family.

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Burtt J Wesleyview full entry

Reference: see letter to the editor by J. Wesley Burtt, The Leader, (Victoria) 13 January 1872, p22 re accusations against him

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Burtt J Wesley

Reference: see letter to the editor by J. Wesley Burtt, The Leader, (Victoria) 13 January 1872, p22 re accusations against him

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Carse James Howeview full entry

Reference: see letter to the editor by J. Wesley Burtt, The Leader, (Victoria) 13 January 1872, p22 re accusations against him. Claims the support from Carse in the matter.

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Carse James Howe

Reference: see letter to the editor by J. Wesley Burtt, The Leader, (Victoria) 13 January 1872, p22 re accusations against him. Claims the support from Carse in the matter.

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Morgan Sylvia 1929 etchingview full entry

Reference: see REEMAN DANSIE timed auction, 21.8.22, lot 146: Sylvia Morgan, 1929, etching, signed titled 'Roadside Shanties' and numbered from an edition of 50, Label to back reading: 'This etching of a roadside shanty in Australia was presented to Admiral Sir Dudley De Chair, during his term of office as Governor of New South Wales, Australia, in 1929', plate 17 x 37cm, glazed frame

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Morgan Sylvia 1929 etching

Reference: see REEMAN DANSIE timed auction, 21.8.22, lot 146: Sylvia Morgan, 1929, etching, signed titled 'Roadside Shanties' and numbered from an edition of 50, Label to back reading: 'This etching of a roadside shanty in Australia was presented to Admiral Sir Dudley De Chair, during his term of office as Governor of New South Wales, Australia, in 1929', plate 17 x 37cm, glazed frame

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Missingham Halview full entry

Reference: Australian alphabet
‘A beautiful child’s picture alphabet of Australian native animals and flora, featuring Missingham’s striking bichrome and trichrome illustrations.’
Publishing details: Sydney : Consolidated Press, [1942]. Small quarto, publisher’s pictorial stiff wrappers [28] pp, chiefly colour illustrations.
Ref: 1009

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Missingham Hal

Reference: Australian alphabet
‘A beautiful child’s picture alphabet of Australian native animals and flora, featuring Missingham’s striking bichrome and trichrome illustrations.’

Publishing details: Sydney : Consolidated Press, [1942]. Small quarto, publisher’s pictorial stiff wrappers [28] pp, chiefly colour illustrations.

Location: 1009

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Bilu Asherview full entry

Reference: Asher Bilu : recent paintings
Foreword by Brett Whiteley.
Publishing details: Melbourne : The Art Gallery, 1988. Oversized oblong folio, lettered wrappers, pp. [90], illustrated.
Ref: 1000

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Bilu Asher

Reference: Asher Bilu : recent paintings
Foreword by Brett Whiteley.

Publishing details: Melbourne : The Art Gallery, 1988. Oversized oblong folio, lettered wrappers, pp. [90], illustrated.

Location: 1000

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Veal Haywardview full entry

Reference: Hayward Veal 1913 – 1968 Memorial Exhibition, 41 works, a couple illustrated.  
Publishing details: Melbourne : Joseph Brown Gallery, 1973. Quarto, illustrated cards, a couple of small stains, pp. [4],
Ref: 1009

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Veal Hayward

Reference: Hayward Veal 1913 – 1968 Memorial Exhibition, 41 works, a couple illustrated.  

Publishing details: Melbourne : Joseph Brown Gallery, 1973. Quarto, illustrated cards, a couple of small stains, pp. [4],

Location: 1009

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Dobell Williamview full entry

Reference: Sir William Dobell. Recent paintings [’Accompanied by the exhibition invite card, the list of forthcoming exhibitions at Newcastle City Art Gallery, and an advertising brochure for the Home and Studio of Sir William Dobell.’ - Douglas Stewart Fine Books copy 2022]
Publishing details: Newcastle City Art Gallery, 1970. Octavo, folding exhibition catalogue, pp. [6], cover illustration,
Ref: 1000

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Dobell William

Reference: Sir William Dobell. Recent paintings [’Accompanied by the exhibition invite card, the list of forthcoming exhibitions at Newcastle City Art Gallery, and an advertising brochure for the Home and Studio of Sir William Dobell.’ - Douglas Stewart Fine Books copy 2022]

Publishing details: Newcastle City Art Gallery, 1970. Octavo, folding exhibition catalogue, pp. [6], cover illustration,

Location: 1000

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Hickey Daleview full entry

Reference: Dale Hickey life in a box. Exhibition catalogue with essays by Paul Zika, Chris McAuliffe, John R Neeson, Domenico do Clario, John Stringer and Stephen Haley.
Publishing details: Melbourne : The Ian Potter Museum of Art, 2008. Quarto, illustrated wrappers, pp. 40, colour illustrations throughout.

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Hickey Dale

Reference: Dale Hickey life in a box. Exhibition catalogue with essays by Paul Zika, Chris McAuliffe, John R Neeson, Domenico do Clario, John Stringer and Stephen Haley.

Publishing details: Melbourne : The Ian Potter Museum of Art, 2008. Quarto, illustrated wrappers, pp. 40, colour illustrations throughout.

Location: 0

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Jubelin Narelleview full entry

Reference: Narelle Jubelin : plantas e plantas = Plants & plans, by Ana Gomes da Silva
Publishing details:
Publisher: Lisboa : Funda-cão Calouste Gulbenkian, 2012
Ref: 1000

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Jubelin Narelle

Reference: Narelle Jubelin : plantas e plantas = Plants & plans, by Ana Gomes da Silva

Publishing details:
Publisher: Lisboa : Funda-cão Calouste Gulbenkian, 2012

Location: 1000

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Gregory Henry Gregory 1813-1877view full entry

Reference: see Gibson’s auction, Armadale, Victoria, 28.8.22, lot 118:
HENRY GREGORY GREGORY (1813-1877) 
a collection of four watercolour and ink drawings 
i The Find 
signed with initials and titled lower left and right: HG A find 
26.5 x 38cm 
ii Astonishing the Natives 
titled lower left: Astonishing the Natives 
26 x 43.5cm 
iii A Foraging Party - Pleasing Prospect of Cold Missionary for Dinner 
signed with initials and titled lower left and right: HG A foraging party - pleasing prospect of Cold Missionary for dinner 
30 x 50cm 
iv With the view of making a diversion, and for laying the foundation for some moral and civilised observatories, the Doctor offered his host "if he was fond of children? / The New Zealander replied with a curious expression of countenance, patting his stomach at the same time. 
"Oh! yes - me berry fond of children!" [Colburn's Magazine] 
26 x 36.5cm 

REFERENCE 
Shanahan, Mary, Out of Time, Out of Place, Henry Gregory and the Benedictine Order in Colonial Australia, Australian National University Press, 1970 

NOTE 
For a similar example see Henry Gregory, Gentleman in waiting - for dinner, National Library of Australia 

Henry Gregory Gregory (1813-1877) born in Cheltenham, England was educated at Douai and Downside Monastary and subsequently entered the order in 1833. He travelled to Australia in 1835 with first appointed Bishop of Australia, John Bede Polding. It was great privilege for the young Gregory to accompany the Bishop, performing the duty of catechist as he was not yet fully ordained. The following year Gregory spent some time in Norfolk Island as assistant chaplain and showed fortitude during a mutiny there. They returned to Rome, allowing Gregory to complete his doctorate in divinity, bolstering his position in the order and preparing the young monk for great responsibilities in the colony. They sailed back to Sydney in 1843, under Poldings guidance and encouragement Gregory was ordained Prior and later Abbot of St Mary's Abbey, Sydney. 

The Irish Catholics had a strong foothold in the colony and did not take fondly to Gregory or Poldings interference. Gregory was ordained vicar-general to Polding in 1844. At the age of 30 Gregory did not possess the diplomatic complexities required to unite the clergy and laity. Following numerous complaints from monks, clergy and laity in Sydney, Gregory was recalled and left Sydney in February 1861. He was later exonerated by the Vatican, but decided to remain in England for the remainder of his life.

×

Gregory Henry Gregory 1813-1877

Reference: see Gibson’s auction, Armadale, Victoria, 28.8.22, lot 118:
HENRY GREGORY GREGORY (1813-1877) 
a collection of four watercolour and ink drawings 
i The Find 
signed with initials and titled lower left and right: HG A find 
26.5 x 38cm 
ii Astonishing the Natives 
titled lower left: Astonishing the Natives 
26 x 43.5cm 
iii A Foraging Party - Pleasing Prospect of Cold Missionary for Dinner 
signed with initials and titled lower left and right: HG A foraging party - pleasing prospect of Cold Missionary for dinner 
30 x 50cm 
iv With the view of making a diversion, and for laying the foundation for some moral and civilised observatories, the Doctor offered his host "if he was fond of children? / The New Zealander replied with a curious expression of countenance, patting his stomach at the same time. 
"Oh! yes - me berry fond of children!" [Colburn's Magazine] 
26 x 36.5cm 

REFERENCE 
Shanahan, Mary, Out of Time, Out of Place, Henry Gregory and the Benedictine Order in Colonial Australia, Australian National University Press, 1970 

NOTE 
For a similar example see Henry Gregory, Gentleman in waiting - for dinner, National Library of Australia 

Henry Gregory Gregory (1813-1877) born in Cheltenham, England was educated at Douai and Downside Monastary and subsequently entered the order in 1833. He travelled to Australia in 1835 with first appointed Bishop of Australia, John Bede Polding. It was great privilege for the young Gregory to accompany the Bishop, performing the duty of catechist as he was not yet fully ordained. The following year Gregory spent some time in Norfolk Island as assistant chaplain and showed fortitude during a mutiny there. They returned to Rome, allowing Gregory to complete his doctorate in divinity, bolstering his position in the order and preparing the young monk for great responsibilities in the colony. They sailed back to Sydney in 1843, under Poldings guidance and encouragement Gregory was ordained Prior and later Abbot of St Mary's Abbey, Sydney. 

The Irish Catholics had a strong foothold in the colony and did not take fondly to Gregory or Poldings interference. Gregory was ordained vicar-general to Polding in 1844. At the age of 30 Gregory did not possess the diplomatic complexities required to unite the clergy and laity. Following numerous complaints from monks, clergy and laity in Sydney, Gregory was recalled and left Sydney in February 1861. He was later exonerated by the Vatican, but decided to remain in England for the remainder of his life.

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Collett William Rview full entry

Reference: see Gibson’s auction, Armadale, Victoria, 28.8.22, lot, 120:
WILLIAM R COLLETT 
Views of N.S.W. circa 1842-1853 
a leather folio of seventeen watercolours 
Blue Mountains, Mount Kembla-Illawarra, Woollongong, Illawarra Lake, Sofala on the Turon, Turon River 
some inscribed in image 
17.5 x 25.5cm (average)

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Collett William R

Reference: see Gibson’s auction, Armadale, Victoria, 28.8.22, lot, 120:
WILLIAM R COLLETT 
Views of N.S.W. circa 1842-1853 
a leather folio of seventeen watercolours 
Blue Mountains, Mount Kembla-Illawarra, Woollongong, Illawarra Lake, Sofala on the Turon, Turon River 
some inscribed in image 
17.5 x 25.5cm (average)

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Rajola Rview full entry

Reference: see Gibson’s auction, Armadale, Victoria, 29.8.22, lot 324:
A SHELL CAMEO BY R. RAJOLA, SYDNEY
A SHELL CAMEO BY R. RAJOLA, SYDNEY
Featuring a carved cameo of a lady in profile, signed RR to verso, original fitted box.

PROVENANCE
The Trevor Kennedy Collection
10 days 21 hours left to bid

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Rajola R

Reference: see Gibson’s auction, Armadale, Victoria, 29.8.22, lot 324:
A SHELL CAMEO BY R. RAJOLA, SYDNEY
A SHELL CAMEO BY R. RAJOLA, SYDNEY
Featuring a carved cameo of a lady in profile, signed RR to verso, original fitted box.

PROVENANCE
The Trevor Kennedy Collection
10 days 21 hours left to bid

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Allen Roy etchingsview full entry

Reference: see Gibson’s auction, Armadale, Victoria, 29.8.22, lot 336:
ROY ALLEN
Ferry Bower, Manly And A Street In Manly
Two Etchings
Each Signed And Titled On Margin: Roy Allen
15 X 20.5cm (Each)

×

Allen Roy etchings

Reference: see Gibson’s auction, Armadale, Victoria, 29.8.22, lot 336:
ROY ALLEN
Ferry Bower, Manly And A Street In Manly
Two Etchings
Each Signed And Titled On Margin: Roy Allen
15 X 20.5cm (Each)

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Ross Don and friendsview full entry

Reference: see Raffan Kelleher and Thomas auction, DON ROSS & FRIENDS: QUEENSLAND MODERNS
We're pleased to offer a selection of works from the
Estate of the Late Don Ross. Don was a talented artist,
jeweller, mosaicist, musician and great friend to the
Queensland modern art movement
Works include oils and sketches b Don, including of his
beloved wife 'Dicki', and by his friends and
contemporaries, Jon Molvig, Irene Kindness and Irene
Amos, Ted Hockings, Nevil Matthew, Bronwyn Yeates
and James Fardoulys.
Timed Online Auction
Ends 7pm AEST, 21st August 2022
Raffan Kelaher & Thomas is pleased to offer a selection of works from the Estate of the Late Don Ross. Don was a talented artist, jeweller, mosaicist, and musician. His most notable work, the World War II memorial in Anzac Square in Brisbane was completed in 1962. It is composed of 140,000 Venetian glass tesserae. Don had never worked on such a large scale project. It was typical of his spirit in trying new things and mastering each new skill. His early training as a dentist may have helped him in his practice as a master jeweller, and an eye for detail in drawing. Don attended classes with Jon Molvig and Roy Churcher and stayed firm friends. Don exhibited with Churcher and Mervyn Moriarty in 1966 at the Design Art centre in Brisbane. He entered many exhibitions throughout the 1950s and 1960s, winning the Dally Art Group’s prize for contemporary painting in 1964 and was a regular exhibitor in the Contemporary Art Society 1962-65. He gradually developed his interest in jewellery making and was largely self-taught. He was the Queensland representative of Craft Australia for many years, and was a founding member of the Queensland Jewellery Workshop and regular exhibitor. The Brisbane artist Dr Irene Amos commissioned Ross for one off pieces as well as the actor Frank Thring. Don was a prominent and talented member of the Queensland Modern Art scene in its infancy and one can see his development as an artist and his contemporaries in this selection of works dating from the 1960s and 70s, including Irene Amos, Nevil Matthews, Irene Kindness, Lillian and Arthur Gunthorpe and Ted Hocking. These artists exhibited extensively in the formative years of the Queensland modern art scene, including with Roya and Betty Churcher, Jon Molvig and Milton Moon. A small work by Charles Lancaster is included as a representative example of earlier works by leading Queensland artists of the time included in Don’s collection.

×

Ross Don and friends

Reference: see Raffan Kelleher and Thomas auction, DON ROSS & FRIENDS: QUEENSLAND MODERNS
We're pleased to offer a selection of works from the
Estate of the Late Don Ross. Don was a talented artist,
jeweller, mosaicist, musician and great friend to the
Queensland modern art movement
Works include oils and sketches b Don, including of his
beloved wife 'Dicki', and by his friends and
contemporaries, Jon Molvig, Irene Kindness and Irene
Amos, Ted Hockings, Nevil Matthew, Bronwyn Yeates
and James Fardoulys.
Timed Online Auction
Ends 7pm AEST, 21st August 2022
Raffan Kelaher & Thomas is pleased to offer a selection of works from the Estate of the Late Don Ross. Don was a talented artist, jeweller, mosaicist, and musician. His most notable work, the World War II memorial in Anzac Square in Brisbane was completed in 1962. It is composed of 140,000 Venetian glass tesserae. Don had never worked on such a large scale project. It was typical of his spirit in trying new things and mastering each new skill. His early training as a dentist may have helped him in his practice as a master jeweller, and an eye for detail in drawing. Don attended classes with Jon Molvig and Roy Churcher and stayed firm friends. Don exhibited with Churcher and Mervyn Moriarty in 1966 at the Design Art centre in Brisbane. He entered many exhibitions throughout the 1950s and 1960s, winning the Dally Art Group’s prize for contemporary painting in 1964 and was a regular exhibitor in the Contemporary Art Society 1962-65. He gradually developed his interest in jewellery making and was largely self-taught. He was the Queensland representative of Craft Australia for many years, and was a founding member of the Queensland Jewellery Workshop and regular exhibitor. The Brisbane artist Dr Irene Amos commissioned Ross for one off pieces as well as the actor Frank Thring. Don was a prominent and talented member of the Queensland Modern Art scene in its infancy and one can see his development as an artist and his contemporaries in this selection of works dating from the 1960s and 70s, including Irene Amos, Nevil Matthews, Irene Kindness, Lillian and Arthur Gunthorpe and Ted Hocking. These artists exhibited extensively in the formative years of the Queensland modern art scene, including with Roya and Betty Churcher, Jon Molvig and Milton Moon. A small work by Charles Lancaster is included as a representative example of earlier works by leading Queensland artists of the time included in Don’s collection.

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Gunthorpe Arthur 1910-2000view full entry

Reference: ARTHUR GUNTHORPE (Australia 1910-2000), 'Friendly Light' oil on board, signed lower left, 59.5 x 74 cm, framed 72 x 86 cm. Titled and artist name verso.
see Raffan Kelleher and Thomas auction, DON ROSS & FRIENDS: QUEENSLAND MODERNS
We're pleased to offer a selection of works from the
Estate of the Late Don Ross. Don was a talented artist,
jeweller, mosaicist, musician and great friend to the
Queensland modern art movement
Works include oils and sketches b Don, including of his
beloved wife 'Dicki', and by his friends and
contemporaries, Jon Molvig, Irene Kindness and Irene
Amos, Ted Hockings, Nevil Matthew, Bronwyn Yeates
and James Fardoulys.
Timed Online Auction
Ends 7pm AEST, 21st August 2022
Raffan Kelaher & Thomas is pleased to offer a selection of works from the Estate of the Late Don Ross. Don was a talented artist, jeweller, mosaicist, and musician. His most notable work, the World War II memorial in Anzac Square in Brisbane was completed in 1962. It is composed of 140,000 Venetian glass tesserae. Don had never worked on such a large scale project. It was typical of his spirit in trying new things and mastering each new skill. His early training as a dentist may have helped him in his practice as a master jeweller, and an eye for detail in drawing. Don attended classes with Jon Molvig and Roy Churcher and stayed firm friends. Don exhibited with Churcher and Mervyn Moriarty in 1966 at the Design Art centre in Brisbane. He entered many exhibitions throughout the 1950s and 1960s, winning the Dally Art Group’s prize for contemporary painting in 1964 and was a regular exhibitor in the Contemporary Art Society 1962-65. He gradually developed his interest in jewellery making and was largely self-taught. He was the Queensland representative of Craft Australia for many years, and was a founding member of the Queensland Jewellery Workshop and regular exhibitor. The Brisbane artist Dr Irene Amos commissioned Ross for one off pieces as well as the actor Frank Thring. Don was a prominent and talented member of the Queensland Modern Art scene in its infancy and one can see his development as an artist and his contemporaries in this selection of works dating from the 1960s and 70s, including Irene Amos, Nevil Matthews, Irene Kindness, Lillian and Arthur Gunthorpe and Ted Hocking. These artists exhibited extensively in the formative years of the Queensland modern art scene, including with Roya and Betty Churcher, Jon Molvig and Milton Moon. A small work by Charles Lancaster is included as a representative example of earlier works by leading Queensland artists of the time included in Don’s collection.

×

Gunthorpe Arthur 1910-2000

Reference: ARTHUR GUNTHORPE (Australia 1910-2000), 'Friendly Light' oil on board, signed lower left, 59.5 x 74 cm, framed 72 x 86 cm. Titled and artist name verso.
see Raffan Kelleher and Thomas auction, DON ROSS & FRIENDS: QUEENSLAND MODERNS
We're pleased to offer a selection of works from the
Estate of the Late Don Ross. Don was a talented artist,
jeweller, mosaicist, musician and great friend to the
Queensland modern art movement
Works include oils and sketches b Don, including of his
beloved wife 'Dicki', and by his friends and
contemporaries, Jon Molvig, Irene Kindness and Irene
Amos, Ted Hockings, Nevil Matthew, Bronwyn Yeates
and James Fardoulys.
Timed Online Auction
Ends 7pm AEST, 21st August 2022
Raffan Kelaher & Thomas is pleased to offer a selection of works from the Estate of the Late Don Ross. Don was a talented artist, jeweller, mosaicist, and musician. His most notable work, the World War II memorial in Anzac Square in Brisbane was completed in 1962. It is composed of 140,000 Venetian glass tesserae. Don had never worked on such a large scale project. It was typical of his spirit in trying new things and mastering each new skill. His early training as a dentist may have helped him in his practice as a master jeweller, and an eye for detail in drawing. Don attended classes with Jon Molvig and Roy Churcher and stayed firm friends. Don exhibited with Churcher and Mervyn Moriarty in 1966 at the Design Art centre in Brisbane. He entered many exhibitions throughout the 1950s and 1960s, winning the Dally Art Group’s prize for contemporary painting in 1964 and was a regular exhibitor in the Contemporary Art Society 1962-65. He gradually developed his interest in jewellery making and was largely self-taught. He was the Queensland representative of Craft Australia for many years, and was a founding member of the Queensland Jewellery Workshop and regular exhibitor. The Brisbane artist Dr Irene Amos commissioned Ross for one off pieces as well as the actor Frank Thring. Don was a prominent and talented member of the Queensland Modern Art scene in its infancy and one can see his development as an artist and his contemporaries in this selection of works dating from the 1960s and 70s, including Irene Amos, Nevil Matthews, Irene Kindness, Lillian and Arthur Gunthorpe and Ted Hocking. These artists exhibited extensively in the formative years of the Queensland modern art scene, including with Roya and Betty Churcher, Jon Molvig and Milton Moon. A small work by Charles Lancaster is included as a representative example of earlier works by leading Queensland artists of the time included in Don’s collection.

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Gunthorpe Lillianview full entry

Reference: LILLIAN GUNTHORPE (Australian 20th century), untitled (Red and Black Abstract), oil on board, signed lower right, 60.5 x 90 cm, framed 74 x 103 cm. Artist details verso.
see Raffan Kelleher and Thomas auction, DON ROSS & FRIENDS: QUEENSLAND MODERNS
We're pleased to offer a selection of works from the
Estate of the Late Don Ross. Don was a talented artist,
jeweller, mosaicist, musician and great friend to the
Queensland modern art movement
Works include oils and sketches b Don, including of his
beloved wife 'Dicki', and by his friends and
contemporaries, Jon Molvig, Irene Kindness and Irene
Amos, Ted Hockings, Nevil Matthew, Bronwyn Yeates
and James Fardoulys.
Timed Online Auction
Ends 7pm AEST, 21st August 2022.
Raffan Kelaher & Thomas is pleased to offer a selection of works from the Estate of the Late Don Ross. Don was a talented artist, jeweller, mosaicist, and musician. His most notable work, the World War II memorial in Anzac Square in Brisbane was completed in 1962. It is composed of 140,000 Venetian glass tesserae. Don had never worked on such a large scale project. It was typical of his spirit in trying new things and mastering each new skill. His early training as a dentist may have helped him in his practice as a master jeweller, and an eye for detail in drawing. Don attended classes with Jon Molvig and Roy Churcher and stayed firm friends. Don exhibited with Churcher and Mervyn Moriarty in 1966 at the Design Art centre in Brisbane. He entered many exhibitions throughout the 1950s and 1960s, winning the Dally Art Group’s prize for contemporary painting in 1964 and was a regular exhibitor in the Contemporary Art Society 1962-65. He gradually developed his interest in jewellery making and was largely self-taught. He was the Queensland representative of Craft Australia for many years, and was a founding member of the Queensland Jewellery Workshop and regular exhibitor. The Brisbane artist Dr Irene Amos commissioned Ross for one off pieces as well as the actor Frank Thring. Don was a prominent and talented member of the Queensland Modern Art scene in its infancy and one can see his development as an artist and his contemporaries in this selection of works dating from the 1960s and 70s, including Irene Amos, Nevil Matthews, Irene Kindness, Lillian and Arthur Gunthorpe and Ted Hocking. These artists exhibited extensively in the formative years of the Queensland modern art scene, including with Roya and Betty Churcher, Jon Molvig and Milton Moon. A small work by Charles Lancaster is included as a representative example of earlier works by leading Queensland artists of the time included in Don’s collection.

×

Gunthorpe Lillian

Reference: LILLIAN GUNTHORPE (Australian 20th century), untitled (Red and Black Abstract), oil on board, signed lower right, 60.5 x 90 cm, framed 74 x 103 cm. Artist details verso.
see Raffan Kelleher and Thomas auction, DON ROSS & FRIENDS: QUEENSLAND MODERNS
We're pleased to offer a selection of works from the
Estate of the Late Don Ross. Don was a talented artist,
jeweller, mosaicist, musician and great friend to the
Queensland modern art movement
Works include oils and sketches b Don, including of his
beloved wife 'Dicki', and by his friends and
contemporaries, Jon Molvig, Irene Kindness and Irene
Amos, Ted Hockings, Nevil Matthew, Bronwyn Yeates
and James Fardoulys.
Timed Online Auction
Ends 7pm AEST, 21st August 2022.
Raffan Kelaher & Thomas is pleased to offer a selection of works from the Estate of the Late Don Ross. Don was a talented artist, jeweller, mosaicist, and musician. His most notable work, the World War II memorial in Anzac Square in Brisbane was completed in 1962. It is composed of 140,000 Venetian glass tesserae. Don had never worked on such a large scale project. It was typical of his spirit in trying new things and mastering each new skill. His early training as a dentist may have helped him in his practice as a master jeweller, and an eye for detail in drawing. Don attended classes with Jon Molvig and Roy Churcher and stayed firm friends. Don exhibited with Churcher and Mervyn Moriarty in 1966 at the Design Art centre in Brisbane. He entered many exhibitions throughout the 1950s and 1960s, winning the Dally Art Group’s prize for contemporary painting in 1964 and was a regular exhibitor in the Contemporary Art Society 1962-65. He gradually developed his interest in jewellery making and was largely self-taught. He was the Queensland representative of Craft Australia for many years, and was a founding member of the Queensland Jewellery Workshop and regular exhibitor. The Brisbane artist Dr Irene Amos commissioned Ross for one off pieces as well as the actor Frank Thring. Don was a prominent and talented member of the Queensland Modern Art scene in its infancy and one can see his development as an artist and his contemporaries in this selection of works dating from the 1960s and 70s, including Irene Amos, Nevil Matthews, Irene Kindness, Lillian and Arthur Gunthorpe and Ted Hocking. These artists exhibited extensively in the formative years of the Queensland modern art scene, including with Roya and Betty Churcher, Jon Molvig and Milton Moon. A small work by Charles Lancaster is included as a representative example of earlier works by leading Queensland artists of the time included in Don’s collection.

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Hutton Joyview full entry

Reference: JOY HUTTON (Australia 1921-), 'Fragmented Moon', 1971, screen print, artist's proof, image 47 x 37 cm, framed 67 x 59 cm.
see Raffan Kelleher and Thomas auction, DON ROSS & FRIENDS: QUEENSLAND MODERNS
We're pleased to offer a selection of works from the
Estate of the Late Don Ross. Don was a talented artist,
jeweller, mosaicist, musician and great friend to the
Queensland modern art movement
Works include oils and sketches b Don, including of his
beloved wife 'Dicki', and by his friends and
contemporaries, Jon Molvig, Irene Kindness and Irene
Amos, Ted Hockings, Nevil Matthew, Bronwyn Yeates
and James Fardoulys.
Timed Online Auction
Ends 7pm AEST, 21st August 2022
Raffan Kelaher & Thomas is pleased to offer a selection of works from the Estate of the Late Don Ross. Don was a talented artist, jeweller, mosaicist, and musician. His most notable work, the World War II memorial in Anzac Square in Brisbane was completed in 1962. It is composed of 140,000 Venetian glass tesserae. Don had never worked on such a large scale project. It was typical of his spirit in trying new things and mastering each new skill. His early training as a dentist may have helped him in his practice as a master jeweller, and an eye for detail in drawing. Don attended classes with Jon Molvig and Roy Churcher and stayed firm friends. Don exhibited with Churcher and Mervyn Moriarty in 1966 at the Design Art centre in Brisbane. He entered many exhibitions throughout the 1950s and 1960s, winning the Dally Art Group’s prize for contemporary painting in 1964 and was a regular exhibitor in the Contemporary Art Society 1962-65. He gradually developed his interest in jewellery making and was largely self-taught. He was the Queensland representative of Craft Australia for many years, and was a founding member of the Queensland Jewellery Workshop and regular exhibitor. The Brisbane artist Dr Irene Amos commissioned Ross for one off pieces as well as the actor Frank Thring. Don was a prominent and talented member of the Queensland Modern Art scene in its infancy and one can see his development as an artist and his contemporaries in this selection of works dating from the 1960s and 70s, including Irene Amos, Nevil Matthews, Irene Kindness, Lillian and Arthur Gunthorpe and Ted Hocking. These artists exhibited extensively in the formative years of the Queensland modern art scene, including with Roya and Betty Churcher, Jon Molvig and Milton Moon. A small work by Charles Lancaster is included as a representative example of earlier works by leading Queensland artists of the time included in Don’s collection.

×

Hutton Joy

Reference: JOY HUTTON (Australia 1921-), 'Fragmented Moon', 1971, screen print, artist's proof, image 47 x 37 cm, framed 67 x 59 cm.
see Raffan Kelleher and Thomas auction, DON ROSS & FRIENDS: QUEENSLAND MODERNS
We're pleased to offer a selection of works from the
Estate of the Late Don Ross. Don was a talented artist,
jeweller, mosaicist, musician and great friend to the
Queensland modern art movement
Works include oils and sketches b Don, including of his
beloved wife 'Dicki', and by his friends and
contemporaries, Jon Molvig, Irene Kindness and Irene
Amos, Ted Hockings, Nevil Matthew, Bronwyn Yeates
and James Fardoulys.
Timed Online Auction
Ends 7pm AEST, 21st August 2022
Raffan Kelaher & Thomas is pleased to offer a selection of works from the Estate of the Late Don Ross. Don was a talented artist, jeweller, mosaicist, and musician. His most notable work, the World War II memorial in Anzac Square in Brisbane was completed in 1962. It is composed of 140,000 Venetian glass tesserae. Don had never worked on such a large scale project. It was typical of his spirit in trying new things and mastering each new skill. His early training as a dentist may have helped him in his practice as a master jeweller, and an eye for detail in drawing. Don attended classes with Jon Molvig and Roy Churcher and stayed firm friends. Don exhibited with Churcher and Mervyn Moriarty in 1966 at the Design Art centre in Brisbane. He entered many exhibitions throughout the 1950s and 1960s, winning the Dally Art Group’s prize for contemporary painting in 1964 and was a regular exhibitor in the Contemporary Art Society 1962-65. He gradually developed his interest in jewellery making and was largely self-taught. He was the Queensland representative of Craft Australia for many years, and was a founding member of the Queensland Jewellery Workshop and regular exhibitor. The Brisbane artist Dr Irene Amos commissioned Ross for one off pieces as well as the actor Frank Thring. Don was a prominent and talented member of the Queensland Modern Art scene in its infancy and one can see his development as an artist and his contemporaries in this selection of works dating from the 1960s and 70s, including Irene Amos, Nevil Matthews, Irene Kindness, Lillian and Arthur Gunthorpe and Ted Hocking. These artists exhibited extensively in the formative years of the Queensland modern art scene, including with Roya and Betty Churcher, Jon Molvig and Milton Moon. A small work by Charles Lancaster is included as a representative example of earlier works by leading Queensland artists of the time included in Don’s collection.

Publishing details:

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