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

Pole Leon Sonny 3 refsview full entry

Reference: see 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.

Watkins J S 2 refsview full entry

Reference: see 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.

Withers Walter 3 refsview full entry

Reference: see 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.

Wood Francis Derwent 3 refsview full entry

Reference: see 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.

Sydney Architectureview full entry

Reference: Sydney Architecture, by Paul McGillick, photography by Patrick Bingham-Hall
Publishing details: Balmain, N.S.W. : Pesaro Publishing, 2005, 191 p. : col. ill
Ref: 1000

Bingham-Hall Patrick photographerview full entry

Reference: see Sydney Architecture, by Paul McGillick, photography by Patrick Bingham-Hall
Publishing details: Balmain, N.S.W. : Pesaro Publishing, 2005, 191 p. : col. ill

Architectureview full entry

Reference: see Sydney Architecture, by Paul McGillick, photography by Patrick Bingham-Hall
Publishing details: Balmain, N.S.W. : Pesaro Publishing, 2005, 191 p. : col. ill

Orne Warwick photographerview full entry

Reference: Floranova, by Warwick Orme

Publishing details: Random House Australia, 2004
[189] p. : col. ill., photographs

photographyview full entry

Reference: see VICTORIAN AND EDWARDIAN ADELAIDE FROM OLD PHOTOGRAPHS, by W. B. Pitcher
Publishing details: Syd. John Ferguson. 1977. 4to. Or.bds. Dustjacket. xipp. plus 202 b/w illus

Adelaide photographyview full entry

Reference: see VICTORIAN AND EDWARDIAN ADELAIDE FROM OLD PHOTOGRAPHS, by W. B. Pitcher
Publishing details: Syd. John Ferguson. 1977. 4to. Or.bds. Dustjacket. xipp. plus 202 b/w illus

Quarrill Reuben (1828-1904)view full entry

Reference: Decorative billhead for the Miner’s Store of John S. Cragg, Wholesale & Retail Ironmonger, 11 Swanston St. South, Melbourne. Dated 12 October 1854l, with vignette view of the premises of John S. Cragg’s Miner’s Store at the Yarra end of Swanston Street; manuscript date of 12 October 1854, with entries recording the sale of a soup tureen and ladle for £1 10/- to the ship Shirley (an American merchant vessel), endorsed as ‘paid’ by one of Cragg’s employees; a very well preserved document.
An attractive and very scarce ephemeral printing from Melbourne at the height of the gold rush.
Reuben Quarrill (1828-1904) was active as a lithographer in Melbourne for only a short period, in 1853-4. He is best known for a series of lithographic views of Melbourne, Williamstown and Geelong, several of which at least were drawn by Edmund Thomas. Quarrill then worked as a commission agent and later turned to journalism, ending his career as the editor of the Geelong Advertiser.
Ironmonger John S. Cragg’s notice appeared in The Argus, 16 February 1854, advising the Melbourne public that he was moving his business, The Miner’s Store, from 21 Swanston Street to new premises at 11 Swanston Street (four doors closer to Prince’s Bridge). In the illustration on this billhead, the facade of his stone building has the address ‘No. 11 from No. 21’ below the name Miner’s Store.
The American ship Shirley, out of Salem, Massachusetts, was a merchant clipper of 910 tons owned by Stone, Silsbee & Pickman. She arrived in Port Phillip on 1 October 1854, and was berthed at Nelson Place (Williamstown) until she departed Melbourne for Callao on 17 October 1854. [Information from Douglas Stewart Fine Books, Sept., 2022]

Publishing details: Melbourne : R. Quarrill & Co., Lithographers, 74 Collins St. West, [1854]. Lithographed billhead, 195 x 240 mm

Changes - 12 etchingsview full entry

Reference: Changes - 12 etchings. twelve etchings by George Hirst, Sarah Kent, Gillian Mann, Catherine Moore, Anneke Paijmans, Debbie Perrow, John Pratt, Julie Russell, Jorg Schmeisser, Franki Sparke, Ben Taylor, and Simon Wrigley. Printed in an edition of 50 copies, each etching signed and numbered and housed in a paper folder.
Publishing details: Canberra School of Art, 1980. Folding clamshell box (flecked), 300 x 300 mm, etched title sheet,
Ref: 1000

Holmes Lorraineview full entry

Reference: Whether the Cock - thirteen original linocuts hand coloured by the artist,
Publishing details: Kingston : A.C.T. : Bibliopegia Press, 1990. Quarto, Limited to 25 copies,
Ref: 1000

Schütze, Steffens & Co.view full entry

Reference: Album of Geelong views. [containing concertina foldout of [12] panels with lithographed views of Geelong, all taken from photographs, including a four-part panorama ‘General Bird’s Eye View of Geelong’, and 23 other views (two of which are full-panel size): Town Hall, Exhibition Building, Flinders Street State School, Public Library and Savings Bank, Botanical Gardens, Fire Brigade Station, the Grammar School, Technological Institute, Court House, Mechanic’s Institute, Railway Station, General View of Moorabool Street, Ryrie Street, Great Malop Street, the Hospital, Wesleyan Church, Roman Catholic Church, High Church, Presbyterian Church, St. Paul’s Church, Christ Church, Baptist Church, and Congregational Church; the foldout is in good condition, a few panels with a very pale water stain or tiny loss at head of fold; the rear pastedown has the desirable printed label of the Melbourne publisher, Messrs. Schütze, Steffens & Co. (180 x 135 mm), advertising their series of leporello view albums of Melbourne, Sydney, Ballarat, Sandhurst and Geelong, ‘to be had retail at every bookseller, stationer & shopkeeper throughout the Colony’, with a gift inscription in ink dated June 14th 1898. Info from Douglas Stewart Fine Books, Sept., 2022]
Publishing details: At head of title: Advance Australia. Melbourne : Schütze, Steffens & Co., 272 Little Collins Street (but printed in Germany), [late 1880s]. Leporello album. Octavo (190 x 140 mm), original cloth-backed embossed pictorial boards
Ref: 1000

Schütze, Steffens & Co.view full entry

Reference: Album of Ballarat views. containing a concertina foldout with [13] panels of lithographed views (after photographs) of Ballarat, including a five-panel panorama of the town, public buildings and churches, Moorabool Falls, Band & Albion Claim and the New Mining Exchange.
Publishing details: Schütze, Steffens & Co., 272 Little Collins Street (but printed in Germany), c.1887]. Leporello album. Octavo, original cloth backed pictorial boards gilt,
Ref: 1000

Alice Springs - Centre of the living heartview full entry

Reference: Alice Springs - Centre of the living heart. Includes a reproduction of an Albert Namatjira painting, discussion of the Aranda School of watercolour painting, and a description of Rex Battarbee’s Tmama-Rama Galleries.
Publishing details: Issued under the authority of the Administrator of the Northern Territory. [Canberra? : A. J. Arthur, Commonwealth Printer, circa 1965]. Oblong quarto, colour wrappers, pp. 32, illustrations, map.
Ref: 1000

Truslove Colinview full entry

Reference: Fitzroy : images of a suburb

Publishing details: Fitzroy : Redpoint Books, 1991. Quarto, illustrated boards, pp. 48, il

Ref: 1000

Images of the Antipodes in the eighteenth centuryview full entry

Reference: Images of the Antipodes in the eighteenth century : a study in stereotyping
Depictions of Antipodean peoples prior to and during the first contact with Europeans.
Publishing details: Amsterdam : Rodopi, 1995. Octavo, illustrated wrappers, pp. viii; 231, illustrated.
Ref: 1000

Antipodes in the eighteenth centuryview full entry

Reference: Isee mages of the Antipodes in the eighteenth century : a study in stereotyping
Depictions of Antipodean peoples prior to and during the first contact with Europeans.
Publishing details: Amsterdam : Rodopi, 1995. Octavo, illustrated wrappers, pp. viii; 231, illustrated.

Exhibition of Pictures of Old Sydney view full entry

Reference: Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Harnett Mrs Richard ‘Mosman Bay’view full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Eyre Gladstone 1 exhibitview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Stuart Clarendonview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street.
Various exhibits including
88 Argyle Cut looking east by Clarendon Stuart 7gns
133 Corner of Trinity-lane and Argyle Cut by Clarendon Stuart 7 gns
143 Argyle Cut from Trinity Church by Clarendon Stuart (not priced)
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Pooley Miss Grace Hendy view full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street.
exhibited 127 ‘And we tread the old paths’ by Miss Grace Hendy Pooley, 21 gns

Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Hendy Pooley Miss Grace view full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street.
exhibited 127 ‘And we tread the old paths’ by Miss Grace Hendy Pooley, 21 gns

Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Tait J Mview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exibited various pictures including: 17 In Argyle Cut by J.M. Tait 6gns

Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Collingridge Georgeview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited pictures including:
72 A Picturesque Corner in Cambridge Street and Argyle Cut (two pictures in frame) by George Collingridge 8 gns
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Llewllyn Jones Jview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited pictures including:
121 Morning in Argyle Street by J. Llewellyn Jones 12 gns
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Ashton Julianview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited pictures including: 116 Argyle Street looking towards Observatory by Julian Ashton 20gns (‘Purchased by the government’)
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Ashton Howardview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited pictures including: 100 Argyle Cut by Howard Ashton 30gns
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Long Sidview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited pictures including: 90 Argyle Street and Cut by Sid Long 15 gns (‘Purchased by the government’)
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Thomas W Jview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited pictures including: 58 Argyle Cut by W. J. Thomas 15 gns
60 Argyle-street by W. J Thomas 15 gtns
65 Cross-street at Argyle Cut by W. J. Thomas 10gns
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Backhouse Clarenceview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited pictures including: 63 Argyle Cut by Clarence Backhouse 10gns (‘Purchased by the government’)

Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Hammond G Hamiltonview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited pictures including: 42 Argyle-street, After a Storm by G. Hamilton Hammond (not priced)
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Daplyn A Jview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited pictures including: 23 Argyle Place and Street by A. J. Daplyn 8gns
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Riches Rview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited picture/s.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Beer Lesley Hview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited picture/s.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Spong W Bview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited picture/s.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Moir W Aview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited picture/s.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Leist Fredview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited picture/s.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Johnstone Elliotview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited picture/s.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Shiels Nicholasview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited picture/s.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Mann G V Fview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited picture/s.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Johnson Parnell Wview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited picture/s.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Wilson H Stuartview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited picture/s.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Butterworth Archibaldview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited picture/s.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Exton Edwardview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited picture/s.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Dowling Miss Lydiaview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited picture/s.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Velden P Vanderview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited picture/s.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Legden Charlesview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited picture/s.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Muskett Aliceview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited picture/s.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Grant Jview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited picture/s.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Hunt Charles Hview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited picture/s.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Salvana Jview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited picture/s.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Allingham Missview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited picture/s.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Walker Frank pen and ink sketchesview full entry

Reference: see Exhibition of Pictures of Old Sydney : [catalogue], exhibition held at Society of Artists' Rooms, 76 Pitt-Street. Exhibited picture/s.
Publishing details: Sydney : Society of Artists', 1902. [Photocopy inserted in Painting the Rocks - The Loss of Old Sydney, in Scheding Library]

Clayton Samuel convict artistview full entry

Reference: see Australiana magazine, August 2022, vol. 4 no. 3, in article ‘An American in the East’. p6-7, includes biographical information on Clayton.

Murdoch Margaret 1912-1999 designerview full entry

Reference: see Australiana magazine, August 2022, vol. 4 no. 3, article titled ‘Designs by Murdoch at the House of Georges.’

Georges Department Storeview full entry

Reference: see Australiana magazine, August 2022, vol. 4 no. 3, article titled ‘Designs by Murdoch at the House of Georges.’

Aboriginal motifs in art and jewellery etcview full entry

Reference: see Australiana magazine, August 2022, vol. 4 no. 3, article titled ‘1950s souvenir jewellery and art with Indigenous motifs.’ Illustrated

Adler Eugene John 1904-67 designer refererences and illustrationsview full entry

Reference: see Australiana magazine, August 2022, vol. 4 no. 3, article titled ‘1950s souvenir jewellery and art with Indigenous motifs.’ Illustrated

Maymuru Nanyin c1910-1969 references and illustrationsview full entry

Reference: see Australiana magazine, August 2022, vol. 4 no. 3, article titled ‘1950s souvenir jewellery and art with Indigenous motifs.’ Illustrated

Schagen Simon Adrien 1923-2013 refererence and illustrationview full entry

Reference: see Australiana magazine, August 2022, vol. 4 no. 3, article titled ‘1950s souvenir jewellery and art with Indigenous motifs.’ Illustrated

Hart Peggy jeweller and gift shop ownerview full entry

Reference: see Australiana magazine, August 2022, vol. 4 no. 3, article titled ‘1950s souvenir jewellery and art with Indigenous motifs.’ Illustrated

samplers from Van Diemens Landview full entry

Reference: see Australiana magazine, August 2022, vol. 4 no. 3, article titled ‘Early School Samplers from Van Diemens Land.’

Dowling William Paul 2 portraits illustrated, Bishop Wilson and Mother Mary John Cahillview full entry

Reference: see Australiana magazine, August 2022, vol. 4 no. 3, article titled ‘Early School Samplers from Van Diemens Land.’

Griffiths Thomas woodworkerview full entry

Reference: see Australiana magazine, August 2022, vol. 4 no. 3, article titled ‘Thomas Griffiths, a Queensland Woodworker.’

Splaydsview full entry

Reference: see Australiana magazine, August 2022, vol. 4 no. 3, article titled ‘Splayds - the runcible spoon that captivated the world.’

Simpson Herbert Clarke 1879-1966view full entry

Reference: see Australiana magazine, August 2022, vol. 4 no. 3, article titled ‘H. C. Simpson and his popular art.’

Edwards William view full entry

Reference: see Australiana magazine, August 2022, vol. 4 no. 3, advertisement for rare silver teapot, c1870, by William Edwards, p59.

Leist Emily or Heist?view full entry

Reference: see Eleventh Australiana Virtual Show and Tell Report, May 2021:
Early C20th. Maker unknown. Copper tray with gum nuts and leaves. Size: 0.8 x 25.8 x 13.1 cm
There are records in newspapers of the day that such work was very popular and was taught in “Mr S Atkin’s repousse classes at the Technical College”
One write-up described the work in 1915 of Emily Heist as “a clever Sydney artist in brass and copper repousse work”. After attending Mr Atkins classes Emily made her own designs, taking her inspiration from native flora in her garden. It was recorded that “She could take a plain piece of sheet copper or brass, and rapidly fashion it into a tray, ready for its decoration of wattle-bean, bush fuchsia, lillipillies, sheoak, gum leaves etc.” Emily worked in Coogee, NSW. She signed her work and is represented in AGNSW.
This hand beaten copper tray in the Arts & Crafts manner is decorated in each corner with motifs of gum nuts and gum leaves. It is unsigned, has a simple appearance and decoration, therefore perhaps a student piece.
An interesting paragraph explains the process of manufacture: “Hammering, hammering on the sand bag, annealing the article by fire, beating it on the steel anvil, into perfect shape, or in its setting of pitch, pricking out the design always with the copper or brass, kept at white heat by means of a gas jet, plenishing the leaves and working to a finish, using dozens of different mallets and punches, one can't say the work is exactly easy. 'But It is very interesting,' said Miss Leist, ‘and I love it. Just look what one can create.'

Duterrau Benjaminview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online, for biography of Jane Sarah Duterrau which has info on Benjamin Duterrau:
DUTERRAU, Jane Sarah (Jane Sarah DUTERRAU; Mrs. John BOGLE)
Musician, music teacher, governess
Born London, England, 1812; daughter of Benjamin DUTERRAU (1768-1851) and Elizabeth PERIGAL (1782-1812) Arrived Hobart Town, VDL (TAS), 17 August 1832 (free per Laing) Married John BOGLE, VDL (TAS), February 1838 Departed VDL (TAS), 1839 (for Glasgow)  Died Torquay, Devon, England, 11 October 1885
https://trove.nla.gov.au/search?l-publictag=Jane+Sarah+Duterrau+Bogle+1812-1885 (TROVE tagged by Australharmony)
https://sydney.edu.au/paradisec/australharmony/register-D-2.php#DUTERRAU-Jane-Sarah-BOGLE (shareable link to this entry)

Summary:
Jane Sarah Duterrau (incorrectly Sarah in ADB; Sarah Jane, in DAAO) was the only daughter of the artist Benjamin Duterrau (1767-1851). A London agent for Ellinthorp Hall, Mr. and Mrs. George Carr Clark's Tasmanian private girls school, offered Benjamin and Jane positions there teaching drawing, music and French. But although these positions were duly filled by Henry Mundy, the Duterraus had sailed for Tasmania nevertheless.
Jane probably never taught music publicly in Hobart, since in October 1832 she was appointed governess to the children of Lieutenant-Governor George Arthur. She married a merchant, John Bogle, in February 1838 and returned to Britain the following year.

Documentation:
Baptisms solemnized in the parish of St. Martin in the fields . . . in the year 1813; London Metropolitan Archives
https://www.ancestry.com.au/interactive/1558/31547_213346-00196 (PAYWALL)
No. 24 / [1813 January] 9th / Jane Sarah / [daughter of Benjamin & Elizabeth / Duterrau / 9 Buckingham Street / Insurance Broker . . .
"MARRIED", The Hobart Town Courier (9 February 1838), 2
http://nla.gov.au/nla.news-article4167146
On Thursday the 6th inst. by the Rev. Mr. Lillie, John Bogle, esq. to Jane Sarah, only daughter of Benjamin Duterrau, esq. Campbell street.
"BIRTHS", Colonial Times (27 October 1840), 7
http://nla.gov.au/nla.news-article8751168
"BIRTHS", The Cornwall Chronicle (14 September 1850), 604
http://nla.gov.au/nla.news-article65976577
"AN HISTORICAL PAINTING. Work of Benjamin Duterau", The Mercury (18 July 1928), 10
http://nla.gov.au/nla.news-article29776822
. . . He was descended from a French Huguenot family who had taken refuge in England. His art education was acquired In London where he was born in 1767, he learned the art of steel engraving, and practised it as a business there, but attracted by accounts of the Swan River Colony (W.A.), he left London with the intention of settling in the colony, and arrived there in 1832. At that, time glowing accounts of Van Diemen's Land were in circulation, and Mr. Duterrau changed his purpose and came on to Hobart Town, accompanied by his daughter and sister-in-law. They resided in the old white house at the corner of Campbell and Patrick Streets, and there Mr. Duterrau practised portrait painting. He won reputation, and the Governor (Colonel Arthur) took a keen interest in his work. Miss Duterrau became a governess to the vice-regal family, and no doubt the Governor induced her father to undertake the portrayal of the aboriginals and encouraged and aided him in his work. He frequently visited the studio. As the aboriginals were brought in by Robinson, and were camped in the yard of his house at the corner of Elizabeth and Warwick Streets, Duterrau was given good material on which to work the results of which are to be seen in the numerous paintings, copper-plate engravings, and plaster casts now in possession of the Museum. A few years before his death he removed to a house in Bathurst Street, next to the old King Hall, and died there, in 1851, at the age of 84 years. His daughter married Mr. Bogle, of the firm of Kerr and Bogle merchants, of Hobart, and they afterwards returned to England, and settled there. Most of Duterrau's best works were sent, by request of Mrs. Bogle, to England after her father's death.

Bibliography and resources:
A. Rand, "Duterrau, Benjamin (1767-1851)", Australian dictionary of biography 1 (1966)
http://adb.anu.edu.au/biography/duterrau-benjamin-2010
"Benjamin Duterrau", Design & Art Australia Online (DAAO)
http://www.daao.org.au/bio/benjamin-duterrau
G. F. Stilwell, "Mr. and Mrs. George Carr Clark of Ellinthorp Hall", Tasmanian Historical Research Association 11/3 (April 1963), 72-109 (83)
https://search.informit.com.au/documentSummary;dn=81114276306;res=IELAPA (PAYWALL)
"Benjamin Duterrau", Wikipedia
https://en.wikipedia.org/wiki/Benjamin_Duterrau
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Diggles Sylvesterview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
DIGGLES, Silvester (Silvester DIGGLES; Sylvester DIGGLES; also DIGGLE [sic])
Musician, teacher, piano tuner, artist
Born Liverpool, England, 24 January 1817; baptised St. Mark's, Liverpool, 5 March 1817, son of Edward Holt DIGGLES and Elizabeth SILVESTER Married (1) Eliza BRADLEY (d. 1857), Lancashire, England, 22 May 1839 Arrived Sydney, NSW, 11 November 1853 (per William Ernst, from Liverpool, 4 June) Arrived (1) Brisbane, NSW (QLD), November 1854 Arrived (2) Brisbane, NSW (QLD), 29 January 1855 (per Souvenir, from Sydney, with family to settle) Married (2) Albina BIRKETT (1818-1892), NSW (QLD), 26 January 1858 Died Kangaroo Point, Brisbane, QLD, 21 March 1880, aged 64
https://trove.nla.gov.au/search?l-publictag=Silvester+Diggles+1817-1880 (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-553322 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-D-2.php#DIGGLES-Silvester (shareable link to this entry). Additional info in this entry.
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Dicker Charles William Hamilton (c. 1855-1912view full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online for biography of Dicker’s relation:
DICKER, (Thomas) Frederick Hamilton (Thomas Frederic DICKER; Frederick Hamilton DICKER; Frederick HAMILTON; from c. 1856 usually Frederick Dicker HAMILTON)
Tenor vocalist, horn and cornet player, songwriter, litigant, sportsman, journalist
Born Lewes, Sussex, England, 10 March 1823; son of Thomas DICKER (1765-1868) and Martha HAMILTON Married Margaret Yale HAMELIN, Birkhamsptead, Connecticut, USA, 2 August 1840 Arrived Adelaide, SA, 10 February 1849 (per Candahar from Plymouth) Arrived Sydney, NSW, by September 1853 Died Woollahra, NSW, 11 September 1885, "aged 62"
https://trove.nla.gov.au/search?l-publictag=Thomas+Frederick+Dicker+Hamilton+1823-1885 (TROVE tagged by Australharmony)
https://sydney.edu.au/paradisec/australharmony/register-D-2.php#DICKER-Frederick-Hamilton (shareable link to this entry)

Summary:
Thomas Frederic Dicker was born in Lewes, Sussex, on 10 March 1823, a son of Thomas Dicker (1765-1868), banker, and his wife Martha Hamilton.
Aged just 17, on a tour of the United States, he married Margaret Hamelin, at Barkhamsted, Connecticut, on 2 August 1840. He returned with his wife to Lewes, where he worked as a clerk in his father's bank, and, by his own account, had also been a farmer.
In 1848, he and Margaret and 2 children emigrated to South Australia, arriving at Adelaide on the Candahar, on 10 February 1849, from Plymouth. In the colony, he quickly made a name for himself in agricultural and press circles as an enthusiast of horse-races, foot-races, and ploughing matches, as a convivial vocalist and songwriter, and as a working journalist for W. E. Hammond's Adelaide Mercury.
According to Margaret's petition for divorce, filed in Victoria in 1873, they separated about 1851, when Dicker left her and their children at Adelaide, and resettled in Victoria.
There in 1852 and 1853, he again became known as a sportsman and racing enthusiast.
By September 1853 he was in Sydney, now going by the name Frederick Hamilton Dicker. A year later, by then apparently working as a journalist for Bell's life, he published some admiring verses addressed to Catherine Hayes.
He also wrote a set of song lyrics for Hayes to perform at her Sydney charity farewell, in October 1854, set to music by Lewis Lavenu, as Fair land of Australia.
A month later he commenced a short career as a concert singer and cornet player. As Frederick Hamilton Dicker, he formed a concert party with vocalists Flora Harris and Edward Hancock, and pianists Abraham Emanuel and Silvester Diggles, sailing for Moreton Bay in November, and giving concerts in Brisbane and Ipswich. These were later counted as the first professional concerts in (the future colony of) Queensland, presented on the initiative of John Cooling.
Back in New South Wales, in January 1855 Dicker and Harris joined Miska Hauser and pianist William Sigmont on a southern tour to Goulburn, Berrima, and Braidwood, when Dicker for the first time used his mother's maiden name, appearing as Frederick Hamilton.
Famously, Dicker and Harris accused Daniel Deniehy of lèse majesté, claiming that he refused to stand for the national anthem at one or more of their Goulburn concerts.
He last sang with Harris in public at Edward Boulanger's Sydney concert in May 1855.
Back in Victoria in 1856 he permanently adopted the working name of Frederick Dicker Hamilton (or F. D. Hamilton, and Dicker Hamilton), and resumed the sporting and journalistic activities for which he was best known for the remainder of his life.
In her 1873 petition for divorce, his estranged wife claimed that Dicker had incestuously fathered two children by his own daughter, Fanny.
He died in Sydney in 1885.
The colonial missionary and artist Charles William Hamilton Dicker (c. 1855-1912) was his nephew, son of his younger brother the Rev'd Hamilton Eustace Dicker (1829-1868). Additional info in this entry.
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Pitt William scenic artistview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Diggles Sylvesterview full entry

Reference: Rod Fisher, "Silvester Diggles: Brisbane's pioneer musician, scientist, artist and new churchman",
Publishing details: Journal of the Royal Historical Society of Queensland (May 2000), 271-86

Diggles Sylvesterview full entry

Reference: see "Diggles, Silvester (1817-1880)", Encyclopedia of Australian Science

Abbott Johnview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:ABBOTT, John (John ABBOTT)
Songwriter, lyricist, artist, public servant
Born Parramatta, NSW, c. 1803 Died Hobart Town, TAS, 10 July 1875
https://trove.nla.gov.au/search?l-publictag=John+Abbott+d1875 (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-1471105 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-A.php#ABBOTT-John (shareable link to this entry)
ASSOCIATIONS: Francis Hartwell Henslowe

Works:
The song of the fair emigrant; written by John Abbott; composed by F. H. Henslowe (Hobart Town: R. V. Hood, 1854)
https://trove.nla.gov.au/version/11444048 (DIGITISED)
The dying soldier's legacy, a song of the war, the words by John Abbott, the music by F. Hartwell Henslowe (Hobart Town: Huxtable & Deakin, [1855])
https://trove.nla.gov.au/work/9854454
https://trove.nla.gov.au/version/22790587 (DIGITISED)

Bibliography and resources:
"John Abbott", Design & Art Australia Online (DAAO)
https://www.daao.org.au/bio/john-abbott

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

ALLPORT Mary Mortonview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
ALLPORT, Mary Morton (Mary Morton CHAPMAN; Mrs. Joseph ALLPORT)
Amateur musician, harpist, amateur artist
Born Birmingham, England, 17 May 1806; daughter of William CHAPMAN and Ann EVETT Married Joseph ALLPORT, 20 December 1826 Arrived Hobart Town, VDL (TAS), 11 December 1831 (per Platina, from London, 30 July) Died Hobart, TAS, 10 June 1895, aged 89
https://nla.gov.au/nla.party-613638 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-A.php#ALLPORT-Mary-Morton (shareable link to this entry)

Tasmanian Archive and Heritage Office
https://trove.nla.gov.au/version/263052939

Documentation:
"SHIP NEWS", Colonial Times (14 December 1831), 2
http://nla.gov.au/nla.news-article8646204
Dec. 11. - Arrived the barque Platina, W. S. Wilson, Commander; from London the 30th July with a general cargo. This vessel touched at the Cape and sailed from there on the 31st October. Passengers for New South Wales, Mrs. Wilson, Mr. and Mrs. Ball and child, Mr. and Mrs. Chapman and child, Mr. and Mrs. Allport and child . . .
"Deaths", The Mercury (12 June 1895), 1
http://nla.gov.au/nla.news-article9328105
ALLPORT. - On June 10, at "Aldridge Lodge," Hobart, Mary Morton Allport, widow of the late Joseph Allport, of Hobart, solicitor, aged 88.
"Tasmanian Letter", Australian Town and Country Journal (22 June 1895), 37
http://nla.gov.au/nla.news-article71231459
Old colonists who may know Tasmania and her people personally will be sorry to hear of the death of one who knew Van Diemen's Land in the very early days. I refer to Mrs. Allport, widow of Mr. Joseph Allport, the well-known solicitor, who died at her residence, in Holebrook Place, on Monday, 10th, at the very great age of 89. The old lady's friends in this part of the island are very numerous, and the names of her sons and grandsons are so well known in the different branches of their professions that any remarks of mine would be superfluous.

Bibliography and resources:
Joanna Richardson, An annotated edition of the journals of Mary Morton Allport (Ph.D thesis, University of Tasmania, 2006)
https://trove.nla.gov.au/version/200787182
http://eprints.utas.edu.au/16096
Joanna Richardson, "Introducing Mary Morton Allport and her journals", Tasmanian Historical Research Association: Papers and Proceedings 54/1 (April 2007), 34-49
http://www.thra.org.au/documents/p_and_p_April%202007_fulltext.pdf
Ian Henderson, "Eyeing the lady's hand: the concealed politics of Mary Morton Allport's colonial vision", Journal of Australian Studies 66 (2000), 104-115
https://trove.nla.gov.au/version/52133467
"Mary Morton Allport", Design & Art Australia Online (DAAO)
http://www.daao.org.au/bio/mary-morton-allport
Henry Allport, "Allport, Joseph (1800-1877)", Australian dictionary of biography 1 (1966)
http://adb.anu.edu.au/biography/allport-joseph-1700

ABBOTT, John (John ABBOTT)
Songwriter, lyricist, artist, public servant
Born Parramatta, NSW, c. 1803 Died Hobart Town, TAS, 10 July 1875
https://trove.nla.gov.au/search?l-publictag=John+Abbott+d1875 (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-1471105 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-A.php#ABBOTT-John (shareable link to this entry)
ASSOCIATIONS: Francis Hartwell Henslowe

Works:
The song of the fair emigrant; written by John Abbott; composed by F. H. Henslowe (Hobart Town: R. V. Hood, 1854)
https://trove.nla.gov.au/version/11444048 (DIGITISED)
The dying soldier's legacy, a song of the war, the words by John Abbott, the music by F. Hartwell Henslowe (Hobart Town: Huxtable & Deakin, [1855])
https://trove.nla.gov.au/work/9854454
https://trove.nla.gov.au/version/22790587 (DIGITISED)

Bibliography and resources:
"John Abbott", Design & Art Australia Online (DAAO)
https://www.daao.org.au/bio/john-abbott

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

ALVAREZ John view full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
ALVAREZ, John (John Solomon ALVAREZ; J. ALVAREZ)
Music lithographer, printer
Born London, England, 9 December 1826; baptised Irvingite chapel, Stepney, 17 January 1830, son of David ALVAREZ and Rachel RODRIGUES Married Zipporah BENSABAT (d. 1859), London, 1854 Arrived Melbourne, VIC, by 1859 Died Sydney, NSW, 17 May 1903, aged 78
https://trove.nla.gov.au/search?l-publictag=John+Alvarez+d1903 (TROVE tagged by Australharmony)
https://sydney.edu.au/paradisec/australharmony/register-A.php#ALVAREZ-John (shareable link to this entry)

Summary:
John Alvarez lithographed and printed at least two musical prints issued in Hobart in the early 1860s, for George Rolwegan, the "Celebrated Scotch Song" Caller Herrin published in December 1861, and The Tasmanian Yacht Club polka, by Mary Oldham, issued by James Walch in June 1862.

Documentation:
Register of baptisms, Old Artillery Ground chapel (Irvingite), Parliament Court, Bishopsgate, 1829-1840
https://www.ancestry.com.au/interactive/2972/40612_B0151685-00006/1782307 (PAYWALL)
1830 January 17 / John Solomon Alvarez / Mile End Old Town / [born] December 9, 1826
England census, 30 March 1851, South Hackney, Middlesex; UK National Archives, HO 107/1506
https://www.ancestry.com.au/interactive/8860/MDXHO107_1506_1506-0489/2611395 (PAYWALL)
Albert Grove, Grove Street / David Alvarez / Head / 57 / Retired Missionary / [born] Holland Rachel [Alvarez] / Wife / 58 / [born] Middlsx . . . John Solomon [Alvarez] / Son / 23 / Lithographer / [born Middlesex] . . .
"NEW INSOLVENTS", The Argus (20 June 1860), 5
http://nla.gov.au/nla.news-article5684659
John Alvarez, of Emerald Hill, printer. Causes of insolvency - Pressure of creditors and being unable to work. Liabilities - £61 10s.; assets, £10; deficiency, £51 10s. Mr. Jacomb, official assignee.
"NEW MUSIC", The Mercury (31 December 1861), 2
http://nla.gov.au/nla.news-article8803292
We have received a copy of the celebrated Scotch song "Caller Herrin," which Mr. Black, the Vocalist, rendered so popular in Hobart Town. It is published by Mr. Rolwegan, of Collins Street, having been lithographed by J. Alvarez, of Warwick Street. The frontispiece is a beautiful specimen of illuminated lithography, and contains a vignette of St. Giles, Edinburgh, whilst in another vignette is a "Scotch lassie," vending "Caller Herrin." As a specimen of colonial art, it is highly creditable, and we can only hope that both the publisher and the lithographer may meet with that success which their enterprise deserves.
"MUSIC", Launceston Examiner (2 January 1862), 5
http://nla.gov.au/nla.news-article41450438
We have to acknowledge the receipt of a lithographed copy of the song "Caller Herrin," sung here by Mr. Black. It has an illuminated lithographed frontispiece containing a vignette of St. Giles' Church, Edinburgh, and also one of a Scotch girl selling "Caller Herrin." The lithographer is Mr. J. Alvarez, of Hobart Town, and the publisher Mr. G. Rolwegan, of the same town.
"THE TASMANIAN YACHT CLUB POLKA", Launceston Examiner (26 June 1862), 5
http://nla.gov.au/nla.news-article41454125
This is the name of a very pretty polka just published at Hobart Town, and now on sale at the establishments of Messrs. Walch and Sons. It is composed by Miss Mary Oldham, and dedicated by her to the members of the club. The music is lively and spirited, and the piece will doubtless become a great favorite. The lithographers, Messrs. J. Alvarez and Co., are entitled to notice, for the creditable manner in which they have printed it.
"INSOLVENT COURT", The Mercury (17 March 1864), 2
http://nla.gov.au/nla.news-article8825113
"ASSINGNMENTS", South Australian Register (8 October 1880), 4
http://nla.gov.au/nla.news-article43147640
"DISTRICT COURT", The Brisbane Courier (9 March 1889), 3
http://nla.gov.au/nla.news-article3493447
"DEATHS", The Sydney Morning Herald (19 May 1903), 4
http://nla.gov.au/nla.news-article14569744
ALVAREZ -May 17, at Ashbrook, Denham-street, Glebe, John Alvarez, aged 78.

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

BOATRIGHT Sarahview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
BOATRIGHT, Sarah (Sarah BOATRIGHT; Mrs. James BOATRIGHT; Mrs. BOATRIGHT; Mrs. BOATWRIGHT)
Musician, vocalist, pianist, teacher of music and drawing, school teacher, artist
Arrived Sydney, NSW, 20 January 1833 (per Guardian, from London, 4 September 1832) Departed Sydney, NSW, 23 May 1837 (per Fortune, for London)
https://trove.nla.gov.au/search?l-publictag=Mrs+Boatright (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-1489657 (NLA persistent identifier)

Summary:
Sarah Boatright and her husband James, a surveyor, arrived in Sydney from London on 20 January 1833, as steerage passengers on the cargo ship, Guardian, along with 8 cases of furniture.
From April 1834, She offered board and tuition to young ladies, first at her Bunker Hill Establishment, and from August in new premises in the Colonnade, Bridge-street.
She played the piano in the first Philharmonic Society concert in July 1834, and sang and played with Joanna Ellard and William Joseph Cavendish, in the second Philharmonic concert in September.
She next appeared in public at Maria Taylor's concert at the Pulteney Hotel in March 1835, and for the last documented time in Thomas Stubbs's concert in April. She embarked for London in May 1837, apparently without her husband.
No other details of either Sarah or James have been discovered enabling a closer identification. However, since shipping lists are sometimes incorrect in important details, the slight possibility that her forename was not Sarah, but correctly Susanna, is considered below.

BOATRIGHT, Susanna Antionette Ann (Susanna Antionette Ann ROUSE; Mrs. James BOATRIGHT; Mrs. BOATRIGHT)
Born England, by c. 1805; daughter of James ROUSE (1773-1840) and Elizabeth ? Married (1) James Boatright, St. James, Westminster, 31 October 1826 Married (2) Constantine Frederick Grosvenor, St. Martin in the Fields, London, England, 27 June 1839 ? Died London, England, late 1839 or early 1840
James Boatright and Susanna Antoinette Ann Rouse were married at St. James's, Westminster, on 31 October 1826. Susanna was a daughter of the artist, engraver, author, and drawing master, James Rouse (1773-1840) and his wife Elizabeth, also an artist and engraver. The titlepage of the 1827 second edition of Rouse's beauties and antiquities of the county of Sussex advertises that the book was for sale at Mr. Boatright, 152, Sloane-street, Sloane-square.
If Mrs. Boatright was Susanna, she was apparently widowed sometime after leaving Sydney in 1837, and, as a widow, married Constantine Frederick Grosvenor (c. 1814-1875), at St. Martin's in the Fields, London, on 27 June 1839. She herself may have died (or simply left him) shortly afterwards, for Grosvenor married again on 30 March 1840 at St. James's, Paddington (he was described in the register as a bachelor rather than widower, and a "seaman").
Marriages solemnized in the parish of St. James, Westminster, in the county of Middlesex, in the year 1826; register, 1819-26, page 321; London Metropolitan Archives
https://www.ancestry.com.au/imageviewer/collections/61867/images/61865_314054001181_18296-00329 (PAYWALL)
No. 350 / James Boatright of this Parish and Susanna Antoinette Ann Rouse of the Parish of Fulham Spinster were Married in this Church by License this [31 October 1826] . . . In the presence of Robert Rouse, Sarah Boatright . . .
1839, marriage solemnized at the parish church in the parish of St. Martin in the Fields, in the county of Middlesex; London Metropolitan Archives
https://www.ancestry.com.au/imageviewer/collections/61867/images/61865_314054001181_18182-00206 (PAYWALL)
No. 396 / 27th June 1839 / Constantine Frederick Grosvenor / full age / bachelor / - / 44 St. Martin's Lane / [son of] William Limberry Grosvenor / Wholesale Stationer Susanna Antoinette Ann Boatright / full age / Widow / - / 5 Stanhope St. / [daughter of] James Rouse / Gent.

Documentation:
Report of a barque arrived in Port Jackson this 20th day of January 1833; State Records Authority of NSW
https://www.ancestry.com.au/imageviewer/collections/1210/images/imaus1787_081196-0255 (PAYWALL)
Vessel's Name: Guardian . . . Master's Name: Sinclair . . . [From] London . . . 4th Sept . . . [no cabin passengers] 11 Steerage passengers . . . James Boatwright Surveyor, Sarah Boatwright his Wife . . .
"Shipping Intelligence. ARRIVALS", The Sydney Gazette and New South Wales Advertiser (22 January 1833), 2
http://nla.gov.au/nla.news-article2210460
. . . on Sunday last [20 January] . . . From London and the Cape of Good Hope, the same day, having left the former place on the 4th of September, and the latter on the 3d of December, the barque Guardian, Captain Sinclair, with a general cargo. Passengers, Mr. and Mrs. Hooson and son; John Storton, carpenter; John Jones Peers, bricklayer; John Ferries; Mr. and Mrs. Boatwright, Thomas Must, labourer; Mrs. Sarah Maxwell; John Tugwell, and Herman Scherins.
ASSOCIATIONS: John Jones Peers (bricklayer, musical amateur)
"Sydney General Trade List . . . IMPORTS", The Sydney Gazette and New South Wales Advertiser (29 January 1833), 2
http://nla.gov.au/nla.news-article2210533
22. - GUARDIAN (barque), 263 tons, Sinclair master, from London, Marsden & Flowers agents . . .  8 cases furniture, - Boatwright . . .
[Advertisement], The Sydney Herald (7 April 1834), 3
http://nla.gov.au/nla.news-article12849044
BUNKER'S HILL ESTABLISHMENT, FOR A LIMITED NUMBER OF YOUNG LADIES, (Three Doors from the Archdeacon's.) MRS. BOATRIGHT having taken the above compact and healthful Residence, commanding an extensive view of the Harbour of Port Jackson, Government Domain, &c., at the request of numerous Friends, begs to submit the following Terms for the instruction of a select number of Young Ladies: - Board and general Tuition, comprising English Reading, Grammar, Writing, Arithmetic, Geography, History, Music, Plain and Ornamental Needle Work - Thirty Guineas per annum. Singing - £6 6s 0d Drawing - 6 6 0 French - 6 6 0 Italian - 6 6 0 Geography, with the Use of the Globes - 6 6 0 Dancing - 8 8 0 Each Young Lady to be provided with Bedding, Silver Spoon and Fork, and Six Towels. Washing, Â£4 4s. per annum. Mrs. B. particularly wishes to notify an agreement for a quarter's notice previous to the removal of a Pupil; or, the quarter paid for.  Mrs. B. will also be happy to receive a select number of Young Ladies as Day Pupils - Terms, Three Guineas per quarter. Also, the following Useful and Ornamental Arts and Accomplishments are taught by Mrs. BOATKIGHT, viz.:  - Wax and Rice Flowers, and Fruit from Nature; Chinese Method of Japanning; Painting on Glass; Velvet Painting; Claude and Indian Tinting; Oriental Painting; Maltese Transparencies, without the aid of colour; Mezzotinting; Embossed Flowers, an elegant Relievo for superb Dresses, &c. &c. Private Lessons to Ladies (by Mrs. B., at her residence), in Music, Singing, and any of the foregoing Arts and Accomplishments.
[Advertisement], The Sydney Herald (19 June 1834), 2
http://nla.gov.au/nla.news-article12849651
. . . Mrs. B. having given a fortnight's VACATION to her Pupils, (which terminates on the 5th July), and having made suitable arrangements for the extension of her Establishment, she will feel gratified by an addition to the present number of Pupils . . .
"Philharmonic Concert", The Australian (29 July 1834), 2
http://nla.gov.au/nla.news-article42009106
The first Concert of this Society was held on Friday evening, which we may hail as the birth night of classical music in Australia. This Soiree was highly respectable to the projectors of the enterprise, and proves how much might be done by unity, and good feeling; and it is much to be regretted, that with so many talented amateurs as there are now in this country, that these pastimes were not earlier introduced, for of all rational and serene delights, nothing can be more fascinating than musical amusements. Music seriously applied, is one of the noblest entertainments that can engage the mind of man, it humanizes the passions, strengthens devotion, and exalts the soul with the sublimest ideas. As a proof of its salutary effects, we may boldly assert, that among the whole prison population that have arrived in Australia, there never was a professor of music. It affords to teachers an existence, and to the amateur an employment that not only keeps him, from actions that he would regret, - but from thoughts that would create a blush.
We are sorry that we have not room to eulogize the performers according to their separate merits. The whole was excellent and well arranged. One of the ladies who so handsomely came forward on this occasion, was a little embarrassed, but let her not be discouraged, her attempt was received as it was offered, in the most liberal manner. She was warmly greeted, and she may rest assured, that when once she can acquire confidence, she will be the Star of the evening. Mrs. B's performance on the pianoforte was elegant and lady like, and the gentleman who sang "Mary Lee" shewed himself complete master of his audience, who sat as silent as if the melody came from heaven. His Excellency and suite entered exactly at eight o'clock, and was received, by the directors, the inimitable band of the 17th Regt. playing God save the King. The whole of the performance was over by half past ten, and the company retired, acknowledging, that this Concert had surpassed their anticipations, and by far exceeded any thing of the kind hitherto attempted in this country. - Correspondent.
ASSOCIATIONS: Richard Bourke (governor); Band of the 17th Regiment, master Thomas Lewis
[Advertisement], The Sydney Herald (31 July 1834), 3
http://nla.gov.au/nla.news-article12850022
NOTICE. MRS. BOATRIGHT BEGS respectfully to announce, under the kind wishes and recommendation of her numerous Friends, that she intends removing her Establishment (for the convenience of her Pupils) from Bunkers Hill to No. 6, Bridge-street, on the 11th August, where she trusts to merit a continuance of their kind favors and support.
"THE PHILHARMONIC SOCIETY", The Sydney Monitor (3 September 1834), 3
http://nla.gov.au/nla.news-article32147077
Yesterday evening, the second soiree of the Society took place at the Pulteney Hotel. The company, though not numerous, comprised a great portion of the most respectable inhabitants of the Colony; His Excellency the Governor, the Colonial-Secretary; Mr. Potter McQueen, Captain Hunter and family, &c. &c. We have not time to give the particular merits of each performer, suffice to say, that it went of better than we expected. The band of the 17th regiment, under Mr. Lewis, performed wonders. Mrs. Boatright, and Mrs. Ellard, are singers of superior taste, altho' wanting in that necessary ingredient - confidence. We can not but notice the Dead March, sung by Mrs. B., which is, without exception, the sweetest production we have heard for sometime.
"THE CONCERT", The Sydney Herald (4 September 1834), 3
http://nla.gov.au/nla.news-article12850343
. . . The Society profess to give these Concerts, and only two or three of the members attend, and the getters up are obliged to be beholden to the Bandsmen for the major part of the entertainment. This is certainly not according to "Cocker." The female vocalists set an example to the absentees, which it is hoped will excite in the gentlemen amateurs a "spirit-stirring mood," at the next SoirÃ©e. The old Emerald favorite Savourneen Delish, was Mrs. E's. best performance, and was sung with much plaintive simplicity. Mrs. B. has a delightful voice, and was loudly applauded in "The Deserter ;" the duet of "My pretty Page," between Mrs. E. and Mrs. B. was also applauded . . . The duet of "Time has not thinned my flowing hair," between Mr. C. and Mrs. B. did not appear to have had sufficient practice - it was however above mediocrity . . . "Latour's Pianoforte Duet" by Mr. C. and Mrs. B. was played with much spirit and execution . . .
"PHILHARMONIC CONCERT", The Sydney Gazette and New South Wales Advertiser (4 September 1834), 2
http://nla.gov.au/nla.news-article2217005
. . . We had not the pleasure of hearing Mrs. B. at the first concert, but her song of the Deserter, with the dead march and muffled drum accompaniment, was one of the most effective performances of the evening. This lady also, with Mr. C. performed the air, O Dolce Contento, arranged as a duet for the pianoforte, in a very superior style; and subsequently with the same gentleman, a concertante, for the pianoforte and violin. Here's a health, bonnie Scotland, to thee! was sung with much taste and spirit by Mr. C, who also sang with Mrs. C. [sic, Mrs. B.], the duet, O Pescator, with English words. Mrs. E. had shaken off much of the timidity that oppressed her on the first night, and the result was such as to satisfy the audience that she possesses considerable musical taste and feeling. Her performance in the duet, My Pretty Page with Mrs. B., was, of itself, evidence of this; but her execution of the beautiful Irish air, Savourneen dhelish was conclusive . . .
ASSOCIATIONS: Mrs. E. = Joanna Ellard (vocalist); Mr. C. = William Joseph Cavendish (pianist, vocalist)
MUSIC: The deserter (words by Thomas Haynes Bayley, 'Tis the dismal beat of the muffled drum [words only]); My pretty page (Bishop); O dolce contento (arr. Latour); "Time has not thinned my flowing hair", ? English words to O pescator dell' onda (Venetian melody)
[Advertisement], The Sydney Gazette and New South Wales Advertiser (7 October 1834), 2
http://nla.gov.au/nla.news-article2217249
The Colonade shops in Bridge-street, though situated in a favourable part of the town, have not been all let. As improvements proceed on the domain side of Sydney, this will become a stirring neighbourhood. Among the principal shops under the Colonade, are Mrs. Boatwright's seminary for young ladies, Mr. Metcalfe, and others.
"Mr. Lewis's Concert", The Sydney Monitor (20 December 1834), 2
http://nla.gov.au/nla.news-article32147866
MR. LEWIS is an admirable military musician, and amid the disappointment we experienced at his Concert, we were amused to observe the cool precision with which he conducted the Band, and the efficient support he received from his coadjutors of the 17th in the overtures . . . Mr. Lewis promised to introduce at his Concert all the vocal talent of Sydney. Where were Mrs. Ellard, Mrs. Bird, Mrs. Jones, and Mrs. Boatwright? . . .
ASSOCIATIONS: Isabella Bird (vocalist); Harriet Jones (vocalist)
[Advertisement], The Sydney Gazette and New South Wales Advertiser (1 January 1835), 1
http://nla.gov.au/nla.news-article2196918
SCHOOL FOR YOUNG LADIES, 6, Colonnade, Bridge-street, (Leading to Government House.) MRS. BOATRIGHT, IN returning thanks to her Friends for their patronage, begs intimate, the Vacation to her Pupils commences on the 15th Instant [sic, December], and terminates on the 3d January. Mrs. H, begs to state to those Ladies who are not acquainted with her Establishment, the terms will be found moderate, and whenever there are two or more of a Family suitable deduction will be made, with the view that all her Pupils may participate in the various branches. Mrs. B. continues Private Lessons and Tuition to Ladies, in Music, Singing, Drawing, and other useful accomplishments, at her residence, in Bridge-street.
[Advertisement], The Sydney Gazette and New South Wales Advertiser (24 March 1835), 1
http://nla.gov.au/nla.news-article2197665
CONCERT. MRS. TAYLOR RESPECTFULLY announces to her Friends and the Public generally, that her CONCERT will take place at the PULTENEY HOTEL, on TUESDAY next, the 24th Instant, assisted (with Permission of Colonel Despard) by the Band of the 17th Regiment. PART I . . . 10. Song, Mrs. Boatright, The Rover's Bride - Lee . . .  PART II . . . 3. Song, Mrs. Boatright, Muffled Drum - Lee . . .
"CONCERT", The Sydney Herald (26 March 1835), 3
http://nla.gov.au/nla.news-article12851766
Mrs. Taylor gave her Concert on Tuesday evening last, at the Saloon of the Pulteney Hotel, to rather a thin house, scarcely sufficient we should think to cover the expenses. The performers were Mesdames Taylor, Boatwright, and Child, and Messrs. Simmons, Ellis, Gordonovitch, and Bonner; Mr. Cavendish presiding alternately at the Seraphine and Pinoforte [sic] . . . The difficult song of the "Muffled Drum" was performed very creditably by Mrs. Boatwright, who seemed to be labouring under indisposition . . .
"CONCERT", The Sydney Monitor (28 March 1835), 2
http://nla.gov.au/nla.news-article32148587
. . . Mrs. TAYLOR tho' evidently under the effects of a cold sang very sweetly. Mrs. BOATRIGHT's exertions, too, were very successful, and her songs were warmly applauded. Mr. GORDONOVICH sang a German Bravura and The Maid of Judah, with which all were much delighted . . .
"CONCERT", The Sydney Monitor (28 March 1835), 3
http://nla.gov.au/nla.news-article32148587
. . . Mrs. Boatright appeared indisposed, but sang her songs with taste and feeling . . .
ASSOCIATIONS: Maria Taylor (vocalist); Mrs. Child (vocalist); Jospeh Simmons (vocalist); George Gordonovitch (vocalist); Charles Fawcett Bonnar (vocalist)
MUSIC: The rover's bride (Alexander Lee)
"THE CONCERT", The Sydney Herald (23 April 1835), 2
http://nla.gov.au/nla.news-article12852003
Mr. Stubbs' Concert, at the Royal Hotel, on Tuesday evening last, went off with the most perfect eclat, to a crowded and respectable audience . . . The principal attraction of the evening was that of a female debutante named Rust, a professional singer recently arrived amongst us from Europe, and whose brilliant talents will, no doubt, be the means of forming a new era in the musical history of Australia . . . The Overtures were executed in masterly style, and we believe gave universal satisfaction. Mrs. Boatright sung the martial song, Follow to the War, with great effect, and Miss Douglas, under some disadvantages, gave the song of Gaily we Dance, in a very pleasing manner . . .
"MR. STUBBS'S CONCERT", The Australian (24 April 1835), 2
http://nla.gov.au/nla.news-article42009588
. . . We are sorry that the songs selected for Mrs. Boatwright were not the ones suited to her style of singing. They were, we think, beyond the compass of her voice and execution. Plaintive melodies are her forte; had she sung them, she would have given more general satisfaction. We stated before that she was an improving singer; - the event has shown that opinion to have been correct, or she could not have sung the songs she did. Still more simple melodies would have suited both her voice and execution better . . .
ASSOCIATIONS: Thomas Stubbs (musician); Margaret Rust (vocalist); Ellen Douglass (vocalist)
Report of a ship arrived in Port Jackson this 4[th] day of October 1836; State Records Authority of NSW
https://www.ancestry.com.au/imageviewer/collections/1210/images/imaus1787_081197-0605 (PAYWALL)
Vessel's Name: Tybee . . . Master's name: Rogers . . . From whence: Salem, 5 May, via Hobart Town . . . Passengers . . . Cabin: Mr. James Boatwright from America . . .
"SHIPPING INTELLIGENCE", The Sydney Herald (6 October 1836), 2
http://nla.gov.au/nla.news-article12863675
From the United States via Hobart Town, same day, having sailed from the former place the 5th of May, and the latter the 22d of September, the ship Tybee, Captain Rogers, with American goods. Passengers, Mr. J. Boatright, Mr. George Newall, and Mrs. Sargent.
"QUARTER SESSIONS. FRIDAY, OCTOBER 14", The Sydney Gazette and New South Wales Advertiser (20 October 1836), 3
http://nla.gov.au/nla.news-article2207289
James Griffith was convicted of stealing a number of beads and drawings, the property of Mrs. Boatwright, and sentenced to be worked 3 years in an iron gang.
"SHIP NEWS", The Sydney Gazette and New South Wales Advertiser (23 May 1837), 2
http://nla.gov.au/nla.news-article2211022
PASSENGERS BY THE FOLLOWING VESSELS. - Fortune, for London - Cabin, Mrs. Lister and child, and Mrs. Boatright . . .
"LAW INTELLIGENCE", The Sydney Monitor (28 June 1837), 2
http://nla.gov.au/nla.news-article32156462
Boatwright v. Dyson . . . The defendant produced a receipt in full of all demands, in the hand writing of the wife of plaintiff who had gone to England, but had previously managed the accounts . . .
"LAW INTELLIGENCE. SUPREME COURT - CIVIL SIDE. Monday, June 26", The Sydney Herald (29 June 1837), 2
http://nla.gov.au/nla.news-article12864567
Boatright v Dyson. - This was an action brought to recover the sum of Â£70, for board and lodging. The defendant put in a receipt from the plaintiff's wife in full of all demands up to the day of his leaving the plaintiff's house. - Verdict for the defendant. Counsel for the plaintiff, Mr. Foster; for the defendant, the Attorney-General.
"EAST INDIA SHIPPING", Morning Herald [London, England] (11 October 1837), 4
https://www.britishnewspaperarchive.co.uk/viewer/bl/0002408/18371011/035/0004 (PAYWALL)
Passengers per Fortune, from Sydney - Mrs. Lister and child, Mrs. Boatright . . .

Bibliography and resources:
"Mrs. Boatright", Design & Art Australia online (DAAO)
http://www.daao.org.au/bio/mrs-boatright
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

CARMICHAEL John Blackview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
CARMICHAEL, John Black
Engraver, of sheet music covers, ? sheet music (for Francis Ellard)
Born Edinburgh, Scotland, 27 December 1803 Arrived Sydney, NSW, 28 October 1825 (free per Triton, from Leith 21 May) Died Sydney, NSW, 27 July 1857
https://trove.nla.gov.au/search?l-publictag=John+Black+Carmichael+1803-1857 (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-520577 (NLA persistent identifier)

Summary:
Carmichael executed several engraved title pages for sheet music prints by Francis Ellard. He signed the equestrian illustration (copied and slightly varied from an unidentified imported edition) on the cover of one of Ellard's two very first locally printed pieces of sheet music, The lancers' quadrilles, issued in Sydney in August 1839. He also engraved the ornamented cover of the other first piece, Henri Herz's ballad We have lived and loved together, the design and detail probably also copied from a London original. For other Ellard editions with covers signed by him, between 1839 and c.1844, see:
https://trove.nla.gov.au/music/search?l-publictag=John+Black+Carmichael+1803-1857

Bibliography and resources:
Neidorf 1999, 141-43
http://ro.uow.edu.au/theses/2926 (DIGITISED)
Karen Eaton, "John Black Carmichael (1803-1857), artist and engraver", Australiana (November 2015), 6-20
http://www.australiana.org.au/resources/Documents/Australiana_Carmichael_LR.pdf

Bibliography and resources:
"John Black Carmichael", Design & Art Australia Online (DAAO)
https://www.daao.org.au/bio/john-carmichael
"John Carmichael", Deaf in New South Wales: a community history" (website Deaf Society of NSW, 2013)
http://deafinnsw.com/john-carmichael
"John Carmichael's works: artworks for publications" (website Deaf History Australia
https://deafhistoryaustralia.com/2014/08/26/john-carmichaels-works-artworks-for-publications

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Earle Augustusview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
EARLE, Augustus (Augustus EARLE; Mr. EARLE)
Artist, painter, member and manager of the Sydney Amateur Concerts, 1826-27
Born London, England, 1 June 1793; son of James EARLE and his wife Caroline (widow of William H. SMYTH) Arrived Hobart Town, VDL (TAS), 18 January 1825 (per Admiral Cockburn, from Tristan da Cunha) Arrived Sydney, NSW, by October 1825 Departed Sydney, NSW, October 1828 (per Rainbow, for India) Died London, England, 10 December 1838
https://nla.gov.au/nla.party-485534 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-E.php#EARLE-Augustus (shareable link to this entry)

Documenation:
"THE AMATEUR CONCERT", The Monitor (21 July 1826), 5
http://nla.gov.au/nla.news-article31757663
ON Wednesday Evening about four hundred persons of both sexes assembled at the public School Room in Castlereagh-street, to listen to the musical selections of our Amateur performers of our new monthly Concert. Among the company we noticed the Lieutenant Governor, the Sheriff, the Clerk of the Council, the Clerk of the Peace, Dr. Townson, a number of Magistrates, Advocates, Military Officers, Civil Officers, principal Merchants, &c. &c. &c. All this denotes in unequivocal language the growing importance of this admirable public recreation . . .
. . . The "Bill of the Play," exhibited the following . . .
Directors for the Evening. Mr. Earle. Mr. J. Paul, jun. Mr. Jos. Underwood. Mr. Hayes . . .
The decorations were greatly improved by the filling up of the three windows at the head of the room, with drawings by Mr. Earle, representing the statues, in niches, of Apollo, Minerva, and Melpomene-the figures were commanding, and well executed. Between the statues were respectively placed, the Arms of the United Kingdom, and of these Colonies. We much approve of these Heraldic ornaments, but we would recommend them to be placed to the right and left over the first windows - they did not appear to us so good a relief to the statues as the plain wall would have been . . .
As there are now about 150 subscribers, we recommend that after paying the necessary expences of the institution, the surplus be retained in hand to be increased by the amount of a Benefit for Messrs. Edwards, Sippe, and Earle, who have united their exertions and talents to please the public, gratis . . .
"THE CONCERT", The Australian (22 July 1826), 3
http://nla.gov.au/nla.news-article37073176
The company assembled at the Concert-room, on Wednesday evening, was numerous and highly respectable - there could not, at the lowest computation, have been, fewer than two-hundred and fifty persons present - about one third of these, the ladies composed. Care had been taken since the preceding - concert to improve and preserve - as much of the sound as the deficiencies of the room, at least, in respect of its adaptation to the purposes of a concert-room would admit. To effect this desirable end, the eminent talents of Mr. Earle, were very happily employed. At the last concert it was found, that the niches of the three windows' behind the orchestra, as well as those at each side of the room absorbed a large portion of sound. It was therefore highly desirable and essential to remedy this defect. Mr. Earle hit upon a happy expedient, and by the aid of his talents and experience as an artist, fully succeeded. Those mischievious vacancies were condemned to be blocked up in a temporary manner. Those behind the orchestra, by the stately forms of the mythological patron and patronesses of poetry, music, and the liberal arts - those at one side, a sufficiency of blue gurrah, flushed even with the wall, and extending from the top to the bottom of each windowed nich [niche], it was thought, would assist retaining the "echo of sweet sounds" within proper limits.
From a quarter past seven, to some minutes before eight, the company continued successively, pouring in. A director stationed, at the head of the stairs, received each party's ticket of admission. another ushered them into the concert-room, a third led the ladies to the entrance of a dressing or retiring room - from whence, as they re-issued, a fourth, introduced each one to, her seat. The Lieutenant Governor honored the company with his presence - the courteous manners and generous feelings of this gentleman, reflect credit on his taste and liberality. The efficient assistance rendered to the concert thro' his agency, by several of the military musicians has contributed in no slight degree towards their progressing success.
Several Military and a number of Civil Officers, amongst whom were the. Sheriff, and Clerk of the' Council, were also present. The lights were disposed in much the same manner as on the former evening - three branches of Grecian lamps, pending from brass chains, in a right line along the centre of the ceiling, besides lesser lights, dispersed in other directions. The majestic form of Melpomene, as the muse of lyrical poetry, met the eye on first entering at the side door of the Concert-room. Her stately and perfectly designed figure, appeared to start from the canvas - she stood uprear'd on a pedestal; a wreath of laurel hung from between the fingers of her right hand - the other sustained a trumpet. This painting occupied the left windowed niche - it reached from about two feet below the ceiling to the floor of the orchestra. Melpomene is usually represented as the tragic muse; - as the patroness of lyric poetry. Horace has addressed to her one of his most admired odes- it appears in the third ode of the fourth book. The Royal Arms, with lion rampant, and the much doubted unicorn, divided Melpomene from Mr. President Apollo, whose classically designed person occupied the centre. In delineating the Royal Arms, the skilful Artist had dipped his pencil in the most vivid colours - the star and garter with the surmounting crown, and circling motto, appeared emblazoned with heraldic accuracy. - Apollo resting his lyre on the staff of AEsculapius, round which a healing serpent wound itself, stood next in classic dignity, on his pedestal of Parian marble. - A wreath of his own laurel encircled the head of this grand professor and inventor of medicine, music, poetry, and eloquence. The so much admired fascial angle in the contour and turn of the Belvedere Apollo's head, Mr. Earle imparted to his figure most happily. The real or assumed arms of Australia, appeared next; as if upborne by wisdom and the liberal arts - Apollo on the left side, Minerva on the right - A Kangaroo and Emu appeared to sustain the rising sun of Australia, which darting its rays eliptically up ward, whilst yet half sunk beneath the blue expanse of ocean, gave. a promise of future brilliancy.
Hope, reclining on her anchor, with a benignant smile, seemed, to rise on the sunbeams. She threw a halo of glowing rays around her enlivening figure, and recalled to the mind those beautiful lines in Campbell's pleasures of Hope;
"Eternal Hope! when yonder spheres sublime! Periled their first notes, to sound the march of time, Thy joyous youth began - but not to fade - 'When all the sister planets have decayed; . When rapt in fire the realms of ether glow, And Heaven's last thunder shakes the world below. Thou, undismayed, shalt o'er the ruins smile, And light, thy torch at nature's funeral pile!"
Beneath the rising sun was the following appropriate motto, "E parvis magna" (from small beginnings, great results proceed.) The blue-eyed virgin Minerva ranked next as the goddess of wisdom - her towering head sustained a helmet - one hand was armed with the spear - a shield, with the grisly head of the dying Medusa, protected the other. Those paintings, if the lights had been properly concentrated towards them would have had a just effect when viewed from any particular part of the room as it was, distance in place of improving, rather detracted from their appearance. Experience will, however, serve to correct this defect, and obtain for the Artist that share of admiration, to which his talents so justly entitle him.
[Advertisement], The Sydney Gazette and New South Wales Advertiser (8 November 1826), 1
http://nla.gov.au/nla.news-article2186870
UNDER THE PATRONAGE OF THEIR EXCELLENCIES THE GOVERNOR IN CHIEF AND MRS. DARLING AMATEUR CONCERT, IN AID OF THE FUNDS OF THE BENEVOLENT SOCIETY. The GENTLEMEN, composing the COMMITTEE of the SYDNEY AMATEUR CONCERT, beg to inform the Public, that a CONCERT will be held on Monday, the 4th Day of December next, at the Court-house, in Castlereagh-street. Several Magistrates, and other Gentlemen of the Colony, having expressed their Wish to the Committee, that such should take Place, and having promised their Support on the Occasion, it is hoped, that the Public will give every Encouragement to promote and Attempt to relieve the above laudable Institution. Tickets, 10s each. may be had, on Application to Messrs. JAMES FOSTER (at Mr. Norton's Office, Elizabeth-street), EARLE, EDWARDS, FOXALL, GEORGE PAUL, John PAUL, jun. RAPSEY, ROBERTSON, B. LEVEY, and SIPPE, George-street. A full Account of the Performance will be inserted in next Week's papers.
[Advertisement], The Monitor (17 November 1826), 5
http://nla.gov.au/nla.news-article31757986
. . . In Aid of the Funds of the Benevolent Society. THE Gentlemen composing the Committee of the Sydney Amateur Concert, beg to inform the Public that a Concert will be held on Monday, the 4th of December next, at the Court House, Castlereagh Street . . . Tickets, 10s. each, may be had on application to Messrs. James Foster, (at Mr. Norton's Office, Elizabeth Street) Earle, Edwards, Foxall, George Paul, John Paul, Jun., Rapsey, Roberts, B. Levey, and Sippe, George Street.
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

FAWCETT Georgeview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
FAWCETT, George (George Curtis Fawcett ROWE; appeared professionally as George FAWCETT)
Actor, vocalist, comedian, entertainer, artist
Born Exeter, Devon, England, 24 July 1832; son of George Rowe (1796-1864) and Philippa CURTIS Arrived Melbourne, VIC, c. 1852/53 Departed Melbourne, VIC, December 1863 (per Hero, for New Zealand)
https://trove.nla.gov.au/search?l-publictag=George+Curtis+Fawcett+Rowe+1832-1889 (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-1463324 (NLA persistent identifier)
https://en.wikipedia.org/wiki/George_Fawcett_Rowe (Wikipedia)
https://sydney.edu.au/paradisec/australharmony/register-F-1.php#FAWCETT-George (shareable link to this entry)
ASSOCIATIONS: Lizzie Royal (sister-in-law, Mrs. Thomas Fawcett Rowe)

Documentation:
"LYCEUM THEATRE", Bendigo Advertiser (31 July 1862), 2
http://nla.gov.au/nla.news-article87901427
The well-known fairy story of "Puss in Boots," done into stage form by Mr. Planche (with emendations and localisms, by Mr. G. Fawcett) was depicted and sung to a numerous audience at the Lyceum Theatre last evening. The wonderful Cat, boots, whiskers, tail and all, was hit off to a nicety by Mr. Fawcett, who entered con amore into the business of the scene, and by his unflagging humor drew from his audience frequent acknowledgments of his tact and talent. The Marquis of Carrabas - or, as Mr Fawcett's version has it, Dandenong - found in Miss Julia Matthews a most charming successor, and one quite likely to sing away into the ever susceptible hearts of the princesses of nursery lore. From the many beautiful airs she introduced, we may single that of "Agnes, beauteous Flower," as having best shown the power and sweetness of her voice, as well as her proficiency as a musician. Two duets by this lady and Mr. Fawcett, came in for a very large share of applause, that of "The Two Cats" being as good a take off of the high flown style of Italian artistes as one might wish to see or hear. The scenery of the piece was good, a really well painted panorama, by Mr. Tannett, being introduced by "Pussy" in a running medley of tunes, which must have embraced nearly all the comic airs ever sung in burlesque. The whole of the views in the panorama are good; one a sketch of Fern Tree Gully, being limned with the hand of a faithful and intelligent copyist of nature. A young lady aspirant to histrionic fame made her first appearance as an actress on any stage. Miss Elsie Warden has once or twice figured at a concert here. Being, the fortunate possessor of a good voice and stage figure, she may, when she has shaken off the natural diffidence of a first appearance, by per severance and study, take some position in the pro fession she has chosen. In the first scene of the burlesque Mr. John Dunn stepped down to the footlights, and appealed to the audience to overlook any deficiencies he might exhibit during the piece on the score of his being laboring under a severe attack of bronchitis. While sympathising deeply with Mr. Dunn's affliction, we may remark it is the first time we have heard of bronchial disorders affecting the memory . . .
ASSOCIATIONS: Julia Mathews (actor, vocalist); Geraldine Elsie Warden (vocalist); John Benjamin Dunn (actor, vocalist); Benjamin Tannett (scenic artist); Lyceum Theatre (Bendigo venue)
"THE OLD AUSTRALIAN STAGE . . . GEORGE FAWCETT", The Sunday Sun (16 September 1906), 5
http://nla.gov.au/nla.news-article231863092

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

FEREDAY Susan view full entry

Reference: see Biographical register of Australian colonial musical personnel–D (Dia-Dz)
Dr GRAEME SKINNER (University of Sydney) online:
FEREDAY, Susan (Susan APTHORP; Mrs. John FEREDAY)
Musician, vocalist, composer, artist
Born Gumley, Leicestershire, England, c. 1813/15; eldest surviving daughter of Frederick APTHORP (1778-1853) and Susan HUBBARD (d. 1865) Married John FEREDAY (c. 1813-1871), Gumley, Leicestershire, England, 29 December 1836 Arrived Hobart Town, VDL (TAS), 17 February 1846 (per Aden, from England, 5 November 1845, via George Town, 13 February) Died Sale, VIC, 21 October 1878, aged "63" (on headstone), aged "68" (on death record)
https://trove.nla.gov.au/search?l-publictag=Susan+Apthorp+Fereday+d1878 (TROVE tagged by Australharmony)
https://nla.gov.au/nla.party-485893 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-F-1.php#FEREDAY-Susan (shareable link to this entry)

Summary:
The Tasmanian artist, Susan Fereday composed an unidentified song (words by W. A. Gardiner) that was advertised for publication in Huxtable and Deakin's The Tasmanian lyre in 1854, but apparently not included in the finished series.
She was an active musician, appearing as a vocal soloist for the Launceston Philharmonic Society in February 1856, in a duet composed by its director John Adams. The words of her lost song were written by a former Manchester philanthropist, William Atkinson Gardiner (d.1855), who in 1851 brought out to Launceston, Tasmania:
at his own entire charge and expense, twelve young women, as a donation to the colony.
The DAAO and NLA profiles misleadingly conflate Susan Apthorp Fereday with her daughter, Susan Georgina Marianne Fereday (Mrs. Palmer), born c. 1838, died 1909. An English sketchbook, inscribed to the daughter, is also mistakenly identified with the mother.

Documentation:
"MARRIAGES", The gentleman's magazine (February 1837), 201
https://books.google.com.au/books?id=RWU3AQAAMAAJ&pg=PA201
[Dec. 29] . . . At Gumley, Leicestershire, the Rev. J. Fereday, to Susan, eldest dau. of the Rev. F. Apthorp.
"Hobart Town Shipping. ARRIVALS", The Britannia and Trades' Advocate (19 February 1846), 2
http://nla.gov.au/nla.news-article226536084
Same day [17] - Barque Aden, 422 tons, Waddle, master, from London, Nov. 5, from George Town, Feb. 13, 1846. Passengers - . . . Rev. J Fereday, Mrs. Fereday, and five children, and servant . . .
[Advertisement], The Courier (13 November 1854), 3
http://nla.gov.au/nla.news-article2242514
NOTICE TO SUBSCRIBERS. Now Ready for Sale, THE DELACOURT BOUQUET . . . To he followed in a few days by the TASMANIAN LYRE. CONTENTS: Lanarkshire Polka, by Miss Josephine Smith Sylvan Dale Schottische, anonymous Wivenhoe Quadrilles, by Arthur Hill La Speranza Waltz, by Editor Song. Words by W. A. Gardiner, Esq., music by Mrs. Feraday Galop, by Miss Fraser. Published by Huxtable and Deakin, and sold by Huxtable, Welch, and Fletcher, Hobart Town; and Watson, Launceston. Price 5s.
"ANNUAL COMMEMORATION. CHRIST'S COLLEGE", The Courier (26 December 1854), 2
http://nla.gov.au/nla.news-article2241469
. . . After lunch the visitors sauntered over the grounds or repaired to the concert-room, where a small musical entertainment wound up the festivities of the day. Mrs. Fereday had kindly volunteered her services, and contributed in no small measure to the gratification of the audience and the success of this finale to the day's amusements . . .
"LAUNCESTON PHILHARMONIC SOCIETY", Launceston Examiner (28 February 1856), 2
http://nla.gov.au/nla.news-article36296537
On Tuesday evening the second quarterly rehearsal of the above society took place in the Cornwall Assembly Rooms . . . To spare Mr. Adams, who was evidently suffering from ill health, Mr. Marriott explained to the company that the exercises which were about to be sung were of an elementary character . . . The first duet sung was taken from an old pastoral, much admired by Charles Lamb, who recommended it to Vincent Novello as a suitable subject on which to exercise his musical genius. It represented a dialogue held by Paris and OEnone on Mount Ida. The duet was opened by Mrs. Fereday with much taste, the second part being well taken up by Mrs. Hamilton, and the chorus effectively sustained by the society. It was much applauded, and when Mr. Marriott announced that the music to which they had listened was not Novello's composition, but was written by their conductor, Mr. Adams, renewed plaudits testified the company's appreciation of Mr. Adam's musical talents . . .
"TOWN TALK AND TABLE CHAT", The Cornwall Chronicle (2 April 1859), 4
http://nla.gov.au/nla.news-article65731065
Never within the recollection of that mythical and oft' quoted individual the oldest inhabitant, was there a greater treat offered to the music loving citizens of Launceston, than was the soiree of the Philharmonic Society on Thursday evening last, at the Cornwall Assembly Rooms . . . The arrangements were most ably conducted by Mr. A. J. Marriott, whose musical proficiency is well known and highly appreciated. In speaking of the special performances we are at a loss to find words to describe the thorough excellence of the music tendered by Miss Chambers and Mrs. Fereday. The former lady, gifted with a power of song probably possessed by few in the world, of a rich mellow tone, yet extraordinary compass carolled the delightful music of Mozart, Mendelssohn, and Rossini, completely enthralling her hearers. Nor was Mrs. Fereday less successful, she sang one of the most delightful solos it was ever our delight or privilege to listen to. The duetts by these two ladies were marked as well by the delightful sweetness with which they were rendered, as by the elegant and scientific precision of execution . . .
ASSOCIATIONS: Arthur John Marriott (conductor); Lucy Chambers (vocalist); Francis Kowarzik (violinist); Launceston Philharmonic Society
"George Town", The Cornwall Chronicle (17 July 1867), 5
http://nla.gov.au/nla.news-article72182802
The second of our series of Penny Readings took place here on Friday evening last, in the public schoolroom . . . Song - Mrs. Fereday . . . Glee - Mrs. Fereday and Messrs. Henry . . .
"George Town . . . POPULAR READING", The Cornwall Chronicle (28 August 1867), 5
http://nla.gov.au/nla.news-article72181374
Our fifth popular reading was given in the schoolroom on Friday . . .  Mrs. Fereday sung, "Why do I weep for thee." This elicited a general burst of applause . . .  Mrs. and Miss Fereday and the Messrs. Henry sung the beautiful quartette "Five times by the tapers light" . . .  Mrs. Fereday and Mr. J. Henry sung that beautiful duet "A voice from the waves" . . .
"George Town", The Cornwall Chronicle (20 January 1869), 3
http://nla.gov.au/nla.news-article66466502
A Concert in Aid of the Funds for reshingling the church was given on Thursday evening, the 14th instant, at which there was a very large attendance of visitors and residents . . .  PROGRAMME AS FOLLOWS: - Part 1 . . . Trio - "Hail, Smiling Morn" - Mrs. Fereday, Mrs. Giles, and Mr. Henry. Duet - "List, Dearest, List" - Mrs. Fereday, and Mrs. Hodgson . . .  Duett - "What are the Wild Waves Saying" - Mrs. Fereday and Mr. Henry . . . Part 2nd . . . Quartette - "Here in cool grot." - Mrs. Fereday, Mrs. Hodgson, and Mr. Henry . . .  Duet - "Deh! Conte." - Mrs. Fereday and Mrs. Giles . . . Solo - "The Skipper and his Dog." - Mrs. Fereday. Trio - "Bragila." - Mrs. Fereday, Mrs. Giles, and Mr. Henry. National Anthem.
"DEATH", Gippsland Times (23 October 1878), 2
http://nla.gov.au/nla.news-article62025538
FEREDAY. - On 21st October, at the Bank of Australasia, Sale, Susan, relict of the late Rev. John Fereday, A.M., Incumbent of Mary Magdalen Church, George Town, Tasmania.

Documentation (W. A. Gardiner):
"FEMALE EMIGRATION", Launceston Examiner (12 March 1851), 3
http://nla.gov.au/nla.news-article36259824
"THE LATE W. A. GARDINER", Colonial Times (27 June 1855), 3
http://nla.gov.au/nla.news-article8781469

Bibliography and resources:
"Fereday, Susan", Biography, Council of Heads of Australasian Herbaria, Australian National Herbarium
http://www.anbg.gov.au/biography/fereday-susan.html
(from Women of flowers, by Leonie Norton (2009), National Library of Australia)
"Susan Fereday", Design & Art Australia Online (DAAO)
http://www.daao.org.au/bio/susan-fereday

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

FERNYHOUGH William Henryview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
FERNYHOUGH, William Henry (William Henry FERNYHOUGH; W. H. FERNYHOUGH; Mr. FERNYHOUGH; FERNEYHOUGH [sic])
Music lithographer, printer
Born Rugeley, Staffordshire, England, 17 March 1809; baptised 1 April 1809, son of Thomas FERNYHOUGH (d. 1844) and Susanna MASTERS (d. 1811) Arrived Sydney, NSW, 1836 Married Louisa BERNETT (BLACK) (d. 1862), Scots church, Sydney, NSW, 14 September 1836 Died Sydney, NSW, 15 August 1849, aged 40
https://trove.nla.gov.au/search?l-publictag=William+Henry+Fernyhough (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-477985 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-F-1.php#FERNYHOUGH-William-Henry (shareable link to this entry)
See also:
https://sydney.edu.au/paradisec/australharmony/checklist-sheet-music-1834-c1850.php#FERNYHOUGH

Summary:
Fernyhough produced two musical prints, of which the earlier is probably the undated Walze favorite du duc de Reichstadt, as set of variations by William Vincent Wallace, "printed from Zinc by W. H. Fernyhough". The title-page lists 3 other works by Wallace available at his "Academy", though these others had probably been printed previously in Ireland. Wallace first announced his Academy in March 1836, and nothing is heard of it after that year, so the waltz print can perhaps be tentatively dated to late 1836. Fernyhough, a recent arrival, had commenced business and produced his first prints for sale by September 1836.
Fernyhough's second musical print, Australian Jubilee waltz, by Thomas Stubbs, ("arranged for the piano forte by Wm. Wallace") can be precisely dated to January 1838.
In partnership with printer John Gardner Austin, Fernyhough also produced series of portraits of Indigenous and non-Indigenous townspeople.
Documentation:
[News], The Australian (16 September 1836), 2
http://nla.gov.au/nla.news-article36858594
Messrs. Austin and Fernyhough have just published a series of twelve lithographic portraits of Aborigines of New South Wales, which are exceedingly well executed.
"Domestic Intelligence", The Sydney Times (17 September 1836), 3
http://nla.gov.au/nla.news-article252811764
It is delightful to notice the progressive and rapid advancement of Australia, in the arts and sciences - in fact in civilization, as well as in pastoral and in commercial wealth. A twelvemonth ago, it would have been just as possible to walk from Sydney to old Drury, or to the English Opera House, as to get up such a Concert in Sydney, as that with which Mr. Wallace delighted the townsfolk on Wednesday evening last. Indeed Mr. W. Wallace, our fine violinist, and his charming nightingale sister - with Mrs. Chester, Mr. Dean and family, are a vast acquisition to the intellectual advancement of Sydney. So in the arts, it would have been next to an impossibility before the arrival of Mr. Fernyhough in the Colony a few months ago, to have obtained such excellent Lithograph and Zincographic prints, as may now be produced to embellish our Colonial Literature. We have been favored with a copy of a publication representing some well known aboriginal characters, which are entitled to praise, as being for the most part striking profile likenesses of our sable townsmen, and well executed. They will form a pretty present to friends in England; as characteristic of this country.
[News], The Colonist (22 September 1836), 3
http://nla.gov.au/nla.news-article31718522
A gentleman, named Fernyhough, who has not been long in this colony, has commenced business in Bridge Street, as an artist . . .
"MARRIED", The Colonist (3 November 1836), 9
http://nla.gov.au/nla.news-article31718686
At Sydney, on the 14th September 1836, by the Rev. J. McGarvie, Mr. W. H. Fernyhough, youngest son of Captain Thomas Fernyhough, Quarter-master of the King's Own Staffordshire Militia, to Mrs. L. M. Bernett, youngest daughter of Captain Black Quarter-master of the Ceylon Rifles.
[Advertisement], The Australian (19 January 1838), 1
http://nla.gov.au/nla.news-article36855428
In the Press And will be published on the 26th instant, the day after the Jubilee, or 50th Anniversary of the Colony, THE AUSTRALIAN JUBILEE WALTZ . . .
"THE AUSTRALIAN WALTZ", The Sydney Times (27 January 1838), 3
http://nla.gov.au/nla.news-article252653446
We are glad to notice that a piece of music, entitled The Australian Jubilee Waltz, has been composed by Mr. Thomas Stubbs, and arranged for the pianoforte by Mr. W. Wallace, expressly to commemorate this interesting occasion. We have been told by some persons of taste, who have heard the music performed, that it is a simple and melodious piece of composition, and reflects considerable credit both on the author and arranger of it. Considering this Waltz as the work of a native musician we hope it will meet with the liberal encouragement of the colonial public. The lithographic department has been elegantly executed by Mr. Fernyhough. The publication of this music will take place on Monday, the 29th instant.
[News], Commercial Journal and Advertiser (14 February 1838), 2
http://nla.gov.au/nla.news-article226459613
Her Majesty has been graciously pleased to appoint Captain Thomas Fernyhough, one of the Military Knights of Windsor. The installation took place in St .George's Chapel, Windsor Castle, when the Hon. and Very Rev. Dr. Hobart, Dean of Windsor, and Registrar of the Noble Order of the Garter, administered the oaths to the new Military Knight. He was afterwards installed during Divine Service 13th September. - Staffordshire Advertiser - Captain Fernyhough is the father of Mr. Fernyhough the Artist of George-street.
"DIED", The Sydney Morning Herald (25 August 1849), 3
http://nla.gov.au/nla.news-article12904755
At Sydney, on the 15th August, William Henry Fernyhough, aged 40, youngest son of the late Captain Thomas Fernyhough, late Governor of the Military Knights of Windsor, leaving a wife and six children to lament their loss.

Musical prints:
Walze favorite de Duc de Reichstadt, arranged with variations for the piano forte and dedicated to J. Maclean Esq. by Willm. Wallace, late leader of the Anacreontic Society, Dublin (Sydney: printed from Zinc by W. H. Fernyhough, [c.1836-37])
https://trove.nla.gov.au/version/12407455 (DIGITISED)
Australian jubilee waltz, composed by Thomas Stubbs, author of the Minstrel and arranged for the piano forte by Wm. Wallace, Late Leader of the Anacreontic Society Dublin (Sydney: W. H. Fernyhough, Lithographer, [1838])
https://trove.nla.gov.au/version/15252899 (DIGITISED)

Bibliography and resources:
Richard Neville, "William Henry Ferneyhough", Design & Art Australia Online (DAAO) (1992; 2011)
http://www.daao.org.au/bio/william-henry-fernyhough
Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999), 167-68
http://ro.uow.edu.au/theses/2926 (DIGITISED)
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

FILHON Augusteview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
FILHON, Auguste (Jean Auguste FILHON; Auguste FEUILLEN; ? FEUILLON)
Violinist, musician, artist
Active Melbourne, VIC, by 1855 Married Emilia Clemence LE GAY (LEGAY), VIC, 1859 Active Melbourne, VIC, until c. 1867/68 (also later active in Paraguay)
https://trove.nla.gov.au/search?l-publictag=Auguste+Filhon+c1855-67 (TROVE tagged by Australharmony)
https://sydney.edu.au/paradisec/australharmony/register-F-1.php#FILHON-Auguste (shareable link to this entry)

Summary:
Victorian records register the births in 1863 and 1866 in Melbourne, of two son, both also Auguste, to (Jean) Auguste Filhon and his wife Emilea Clemence Legay.

Documentation:
[Advertisement], The Argus (23 June 1855), 8
http://nla.gov.au/nla.news-article4809811
SALLE DE VALENTINO. - Mons. Fleury will perform on Monday, 25th inst . . .  Fleury's Band, comprising the leading talent of the colonies, will consist of the following artistes: - Mons. Fleury, Conductor and Leader Messrs. Reid, Fihon, 2nd Violins Handoff, Double Bass; Kinzella, Clarionet; De Labestries, Cornopean; Baker, Saxe Horn; Hartigan, Opheclclde; Brown, Flute; Kummons, Bassoon; Sterne, Drum.
ASSOCIATIONS: Achille Fleury (violinist, leader); Thomas Reed (violinist); Alfred Labalestrier (cornopean); Joseph Hartigan (ophicleide)
[Advertisement], The Argus (18 August 1855), 8
http://nla.gov.au/nla.news-article4815588
SALLE DE VALENTINO. Promenade Concert and Ball. Open Every Evening. Admission One Shilling . . . Instrumentalists: Violinists, Messrr. Read and Fillon. Ophecleide - M. Hartigan (the first soloist in the colony.) Cornopean - M. De la Balestriere, Saxe horn, Mr. Baker. Clarionette - Mr. Kinsella. Double-bass - Herr Hendorff. Trombone - Mr. McNamara. Drum - Mr. Jenkins. And Herr Polin, the celebrated solo performer on the flute. M. FLEURY, Leader and Conductor . . .
"LIST OF UNCLAIMED LETTERS", Victoria Government gazette (11 September 1855), 2290
http://gazette.slv.vic.gov.au/images/1855/V/general/88.pdf
[Advertisement], The Argus (11 September 1855), 3
http://nla.gov.au/nla.news-article4817846
LIST OF UNCLAIMED LETTERS for the week ending 5th September, 1855 . . . for Letters at the General Post Office . . . . . . F . . . 13 Filhon, Auguste . . .
"COUNTY COURT OF BUNINYONG AND BALLARAT", The Star (21 March 1857), 3
http://nla.gov.au/nla.news-article66041406
Vincent v. Fleury de Recuillon. - Mr. Cope appeared for the plaintiff, and Mr. Wigley for the defendant. This was a plaint to recover £29 10s. for the performance of the plaintiff, his wife, and a Mr. Youle, for singing and playing the piano for M. Fleury in Melbourne. The defendant was the well-known M. Fleury, formerly the leader of the band at the Victoria Theatre . . . A witness named Quinn, who had been one of Mr. Fleury's band, was called, and said he had performed at Mr. Fleury's concerts for five months before the plaintiff, his wife and Mr. Youle came, and they were well attended. After these parties came, the attendance fell off. The extra night charged £2 10s. for, was for the benefit of Mr. Fleury. "The musicians agreed to take half salary. The Vincents and Youle sang only two songs. Cross-examined by Mr. Cope. - One of these songs was the "Rat Catcher's Daughter," the other a comic duet between Mr. Youle and Mrs. Vincent. Auguste Feuillen gave similar testimony to the preceding witness. The Assessors found a verdict for the plaintiff for £13, being the balance, allowing for £14 already received.
ASSOCIATIONS: John Rimmer Vincent; Achille Fleury
[Advertisement], The Star (23 December 1858), 3
http://nla.gov.au/nla.news-article66332954
CHARLIE NAPIER THEATRE. Proprietor - Mr. John Gibbs. GRAND RE-OPENING NIGHT . . . FRIDAY EVENING, 24th DECEMBER . . . THE OPERA SEASON, Under the direction of MONS. LAVENUE, Will commence on MONDAY EVENING, 27th DECEMBER . . . THE PREMIERE BAND Of the Australian colonies, under the able leadership of Mons. Fleury, will comprise the following instrumentalists: - 1st Violin - Mons. Fleury; 2nd Violin - Mons. Filhou; Tenor - Mons. Labat; Violincello - Mr. T. Minton; Double Bass - Mons. Harendoff; Flute - Herr Palin Clarionet - Mons. Faure; 1st Cornet - Mons. Labalestrier; 2nd Cornet - Mr. Miell; Trombone - Mr. Ellis; Drums, Cymbals, &c. - Mons. Pietro Canna. Leader of the Band - MONS. FLEURY. Conductor - MONS. LAVENUE . . .
ASSOCIATIONS: Lewis Henry Lavenu (conductor, opera company)
[Advertisement], The Argus (10 February 1866), 1
http://nla.gov.au/nla.news-article5776817
STRING BAND, for prlvate parties, balls, pic-nics, &c. Apply Mr. Filhon, violinist, 120 Brunswick-street, Fitzroy.
[Advertisement], The Argus (24 March 1866), 8
http://nla.gov.au/nla.news-article5765494
FRENCH LANGUAGE TAUGHT, by Mons. Filhon. Lessons given in private families, schools, or at his residence, 3 Canning-street, Carlton. N.B. Mr. F. will also give lessons on the violin. Terms, moderate.
"INSOLVENCIES", Victoria Government gazette (15 February 1867), 356
http://gazette.slv.vic.gov.au/images/1867/V/general/19.pdf
RETURN of Melbourne Insolvencies during the week ending the 9th day of February, 1867:- 4th February . . . Auguste Filhon, artist, Carlton, Simson . . .
[Advertisement], The Age (3 May 1867), 8
http://nla.gov.au/nla.news-article155035366
LYSTER'S ROYAL ITALIAN and ENGLISH OPERA COMPANY. PRINCESS OPERA HOUSE. Season for 1867 . . . Conductor: Mr. Siede . . . GRAND ORCHESTRA. 1st Violins: Mr. Hall, Mr. E. King; Mr. M. Simonsen. 2nd Violins: Mr. Devereaux; Mr. Filhon . . .
ASSOCIATIONS: Julius Siede (conductor); John Robert Devereaux (violinist)
[Advertisement], The Herald (6 August 1867), 4
http://nla.gov.au/nla.news-article244402591
IN the Supreme Court of the Colony of Victoria. - In Insolvency. - In the Estate of AUGU5TE FILHON, Artist, of Melbourne, in the colony of Victoria. - Notice is hereby given that the above-named Auguste Filhon intends to apply . . . on Friday, the sixth day of September next, at the hour of Eleven o'clock in thu forenoon, that a CERTIFICATE of DISCHARGE from his debts under the Insolvency Statute, 1865, be granted to him. AUGUSTE FILHON, Dated this fifth day of August, 1867.
[Advertisement], The Argus (7 December 1867), 8
http://nla.gov.au/nla.news-article5785311
THEATRE ROYAL. Engagement for 12 Nights Of LYSTER'S Royal Italian and English OPERA COMPANY. Under the Special Patronage of H.R.H. the DUKE OF EDINBURGH, K.G. . . .  GRAND ORCHESTRA. 1st Violins. Mr. Hall, Mr. Levy, Mr. White, Mr. King, Mr. Fischer. 2nd Violins - Mr. Devereaux, Mr. Filhon, Mr. Read, Mr. Cousins . . .
Sands & McDougall's Melbourne and suburban directory for 1868 (Melbourne: Sands & McDougall, 1868), 5, 373
https://omeka.cloud.unimelb.edu.au/melbourne-history/items/show/12 (DIGITISED)
[5] Bourke street east . . . 173 Filhon, Auguste, colonial wine saloon
[373] . . . Filhon, Auguste, colonial wine saloon, 173 Bourke street east

Bibliography and resources:
Juan Max Boettner, Música y músicos del Paraguay (Edición de Autores Paraguayos Asociados, 1956), 120
. . . Nueva exhibición del magnifico y sin rival Silforanva producido por la luz eléctrica y presentado por el artista parisiense Auguste Filhon. Efectos genionietros-cópicos! Al terminar la función, el teatro será iluminado con luz eléctrica! - (La nación, 18-V-1887).

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

FISCHER John Nview full entry

Reference: see Biographical register of Australian colonial musical personnel–D (Dia-Dz)
Dr GRAEME SKINNER (University of Sydney) online:
FISCHER, John N. (John N. FISCHER; J. N. FISCHER; ? Johann Nepomuck FISCHER)
Lithographic printer, engraver, music engraver and printer, music publisher, music seller, musician, viola player, ? violinist
Born ?, son of Anthony and Christina FISCHER Active Sydney, NSW, by September 1867 Died Sydney, NSW, June 1902
https://trove.nla.gov.au/search?l-publictag=John+N+Fischer+d1902 (TROVE tagged by Australharmony)
https://sydney.edu.au/paradisec/australharmony/register-F-1.php#FISCHER-John-N (shareable link to this entry)

Documentation:
[2 advertisements], The Sydney Morning Herald (2 October 1867), 1
http://nla.gov.au/nla.news-article13156993
LOST, about the Markets, some Written MUSIC, 6s reward. J. N. FISCHER, 266, George-street.
LOST, Yesterday, four sheets of Manuscript MUSIC, in George-street, by Mr. Fisher, engraver. The finder will be rewarded by leaving the same with him, or Messrs. ELVY and CO.
"NEW MUSIC", Empire (14 November 1868), 4
http://nla.gov.au/nla.news-article60829232
Mr. J. R. Clarke of Hunter-street, is now displaying a commendable activity in the line of publishing new music, and his enterprise should meet the approbation of connoisseurs. The last production is the "Un Ballo in Maschera Quadrilles," arranged by a gentleman who has chosen to adopt as his nom-de-plume the designation of "Carl Roslein." The engraving of the music has been executed by Mr. Fischer, a clever German . . .
[Advertisement], The Sydney Morning Herald (8 January 1897), 2
http://nla.gov.au/nla.news-article14162807
MUSIC.- Pieces for Violin and Piano, Violin Duets, Trios and Quartets by Beethoven, Mozart, Haydn, Hummel, Grieg, Schubert, Schumann, &c. J. N. FISCHER, 101 Clarence-street.
"Funerals", The Sydney Morning Herald (19 June 1902), 10
http://nla.gov.au/nla.news-article14445077
FISCHER.- The members of the German Club and the Friends of the late Mr. J. N. FISCHER are kindly invited to attend his Funeral; to move from 10 Castlereagh-street, THIS THURSDAY [19 June], at 1.30 p.m., for the Necropolis . . .
"MUSIC", The Daily Telegraph (21 June 1902), 6
http://nla.gov.au/nla.news-article237623456
An old musical identity in the person of Mr. J. N. Fischer passed away this week. The old viola player was the sole engraver of music in the Commonwealth, and was constantly engaged turning out music plates for the local publishing houses. His loss is a peculiar one; hitherto it has been impossible to induce skilled engravers to come out to Australia, and when the press of work was too great, manu-lithographic means have had to be resorted to, especially when the want of time precluded sending manuscripts to Europe. Consequently our music publishers now have a troublesome difficulty to face, and for some months at least all music plate work will have to be sent abroad for execution.

Bibliography and resources:
Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999), 168
http://ro.uow.edu.au/theses/2926 (DIGITISED)
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

FLEURY Achilleview full entry

Reference: see extensive entry in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

GALBRIATH William lithographer and printerview full entry

Reference: see extensive entry in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

WATTS J P (Scenic Artist) view full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Gould William son of William Buelow Gouldview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
GOULD, William (William GOULD; W. GOULD)
Engraver, lithographer, printer
Born Hobart Town, VDL (TAS), c. 1838/39; son of William Buelow GOULD (d. 1853) and Susan (Amy) REYNOLDS Arrived Melbourne, VIC, by 1855
http://nla.gov.au/nla.party-1485437 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-G-2.php#GOULD-William (shareable link to this entry)

Documentation:
"NEWS OF THE DAY", The Age [Melbourne, VIC] (27 November 1856), 4
http://nla.gov.au/nla.news-article154870602
We have been favored by Mr. William Gould, of Russell-street, with a copy of a very beautifully executed chromo-lithographic portrait of "Simon," an Australian aborigine of the Yarra Yarra tribe, which opposed the landing of Batman, in 1835. The portrait is taken from a clever photograph by Perry, and is most tastefully and successfully printed in colors by means of several stones. The old warrior is represented with his blanket, spear, and waddy, and is a most favorable specimen of a race now fast disappearing, and seldom to be seen except under the most degrading circumstances. Mr. Gould is excusably proud of his success in this branch of art, and forcibly contrasts his own position - artist, printer, engraver, and diesinker, in one person, with the London houses, who, in the practice of the art, enjoy every facility favorable to success. We trust that Mr. Gould will meet with the encouragement so justly due to one who so closely treads on the heels of excellence. Letter writers to the home country should avail themselves of the opportunity thus afforded them of transmitting a memorial at once historical interesting, and highly indicative of our rapid advancement in artistic pursuits.
ASSOCIATIONS: George William Perry (photographer); Simon Wonga (subject)
PRINT: Simon, an Australian aborigine of the Yarra Yarra tribe (Gould Lithographer)
[Advertisement], The Argus (9 November 1857), 6
http://nla.gov.au/nla.news-article7141714
MR. WRAY'S MORNING LIGHT POLKA will be issued to the subscribers on Friday next. Mr. Wilkie, publisher.

Musical publications:
The morning light polka, composed on the voyage to Melbourne and dedicated to Captain Gillies, the officers and passengers of that splendid Black Ball Clipper, by W. B. Wray (Melbourne: Joseph Wilkie, [1857]); cover: "Gould litho."
https://trove.nla.gov.au/work/25512118
http://handle.slv.vic.gov.au/10381/152563 (DIGITISED)
ASSOCIATIONS: William Beresford Wray (composer); Joseph Wilkie (publisher)

Bibliography and resources:
"William Gould, b. 1839 [sic]", Design & art Australia online (DAAO)
https://www.daao.org.au/bio/william-gould-1
"William Gould, b. 1803", Design & art Australia online (DAAO)
https://www.daao.org.au/bio/william-gould
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

GRAVES John Woodcockview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:GRAVES, John Woodcock (the elder) (John Woodcock GRAVES)
Songwriter, lithographer, artist
Born Wigton, Cumberland, England, 9 February 1795; baptised 6 March 1795, son of Joseph GRAVES and Ann MATTHEWS Married (1) Jane ATKINSON (d. c.1817), Westward, Cumberland, England, 10 February 1816 Married (2) Abigail PORTHOUSE (d. 1856), Wigton, Cumberland, England, 8 May 1821 Arrived Hobart Town, VDL (TAS), 13 August 1834 (per Strathfieldsay, from London, 1 May) Died Ringarooma, TAS, 17 August 1886
https://trove.nla.gov.au/search?l-publictag=John+Woodcock+Graves+1795-1886 (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-1462670 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-G-2.php#GRAVES-John-Woodcock (shareable link to this entry)

Summary (after Campbell 1972):
Graves's father, a plumber, glazier and ironmonger, died in 1803, leaving debts. At 14 in Cockermouth Graves was apprenticed to his uncle George, a painter of coach signs. At one time, Graves hoped to study art and later painted several portraits in oils. About 1815, his apprenticeship completed, he acquired interests in a carding mill at Caldbeck. CONTINUED.
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

GREENFIELD,Max Williamview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
GREENFIELD, Max William (Max William GREENFIELD; Mr. M. W. GREENFIELD)
Musician, violinist, artist, printer
Born ? Germany, c. 1843 Active Sydney, NSW, by 1868 Died Albert Park, VIC, 23 December 1906, aged 63
https://trove.nla.gov.au/search?l-publictag=Max+William+Greenfield+d1906 (TROVE tagged by Australharmony)
https://sydney.edu.au/paradisec/australharmony/register-G-2.php#GREENFIELD-Max-William (shareable link to this entry)
THIS ENTRY IS A STUB ON PERSONNEL FIRST ACTIVE IN AUSTRALIA AFTER 1860

Documentation:
"M. GUILLAUME JONSON'S CONCERT", Bell's Life in Sydney (7 August 1869), 3
http://nla.gov.au/nla.news-article65470320
"PHILHARMONIC SOCIETY", The Sydney Morning Herald (22 December 1869), 4
http://nla.gov.au/nla.news-article13197530
"Marriages", Empire (31 December 1869), 6
http://nla.gov.au/nla.news-article60895799
[Advertisement], The Sydney Morning Herald (6 September 1879), 2
http://nla.gov.au/nla.news-article13439381
"DEATHS", The Age (26 December 1906), 1
http://nla.gov.au/nla.news-article201678909
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Hemy Charles Napierview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
FATHER OF
HEMY, Henry Frederick (Henry Frederick HEMY; Henri F. HEMY)
Musician, pianist, tenor vocalist, composer
Born Newcastle-upon-Tyne, England, 12 November 1818 Arrived Melbourne, VIC, 17 December 1850 (per Madewaska, from Liverpool, 16 September) Departed Melbourne, VIC, April 1852 (per Blundell, for England) Died Hartlepool, Cleveland, England, 10 June 1888
https://trove.nla.gov.au/search?l-publictag=Henry+Frederick+Hemy (TROVE tagged)
http://nla.gov.au/nla.party-1497820 (NLA persistent identifier)

Summary:
A "Mr. Hemy, a German" was a prominent Newcastle-upon-Tyne musician in 1827. Henri Hemy (1780-1859) was born in Germany, volunteered for service as a military musician with the Duke of Buccleuch and came to England in 1797. In 1852, evidently prompted by favourable reports sent by his son, Hemy senior also came to to Melbourne for a short time, and advertised in November and December as a piano and harp tuner, and a teacher of flute and instructor of wind instrument bands.
Of greater musical interest is the somewhat longer visit of his son, Henry F. Hemy, best known later as author of the extraordinarily popular Royal modern tutor for the pianoforte; published in 1858, it reached it 20th edition by April 1859, and remained in print well into the next century, including in several Australian "editions" (see, for instance, those by E. W. Cole and W. H. Paling).
Hemy was also composer of some of the most commonly sung English Roman Catholic hymns, including the tune commonly used for Faber's hymn Faith of our Fathers; usually known as St. Catherine, it first appeared in his collection Crown of Jesus (London & Dublin, 1864). Another, the hymn tune "Stella", was later associated in Australia with a children's song My ship's home from China with a cargo of tea.
Henry's son, the artist Charles Napier Hemy (1841-1917) recorded in a manuscript memoir, Days of my youth, travels with his family as a ten-year-old to and from Australia, and his adventures in the Victorian goldfields in 1851.
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

HILL LOUISAview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
HILL, Louisa (Mrs. Samuel Prout HILL; late Mrs. ODELL)
Teacher of music, singing, and painting
Arrived Hobart Town, VDL (TAS), by May 1847 Died Hobart, TAS, 19 May 1871, in the 68th year of her age

Summary:
Accountant and public servant, amateur artist and poet, Samuel Prout Hill was a son of James Hill and Elizabeth Prout, The English artist Samuel Prout (1783-1852) and the NSW colonist Cornelius Prout (1793-1855) were his mother's brothers, and another brother, John (1782-1865) was father of his cousin, the colonial artist John Skinner Prout.
His "Stanzas on the recent death of a beautiful and accomplished young lady" was one several poetic eulogies to appeared in the Sydney press following the death of Rosetta Nathan in April 1843, and was reprinted the following month in his collection Tarquin the proud and other poems (Sydney: D. L. Welch, 1843). In July 1844, the Herald published his "Song of a Aborigines", written to the tune of Isaac Nathan's popular Byron setting Tambourgi, and a spririted defense of Nathan and Eliza Dunlop's positive characterisation of Indigenous people in their 1842 productions, The Aboriginal mother and The eagle chief.

Documentation:
"STANZAS. On the recent sudden death of a beautiful and accomplished Young Lady", The Colonial Observer (5 April 1843), 5
http://nla.gov.au/nla.news-article226361300
"ORIGINAL POETRY . . . SONG OF THE ABORIGINES", The Sydney Morning Herald (23 April 1844), 4
http://nla.gov.au/nla.news-article12409847
[Advertisement], The Courier (19 May 1847), 1
http://nla.gov.au/nla.news-article2971881
[Advertisement], The Courier (26 May 1847), 1
http://nla.gov.au/nla.news-article2971832
"MARRIAGE", The Courier (21 April 1849), 2
http://nla.gov.au/nla.news-article2966189
[Advertisement], The Mercury (14 November 1863), 1
http://nla.gov.au/nla.news-article8822377
"DEATHS", The Mercury (20 May 1871), 1
http://nla.gov.au/nla.news-article8868684

Bibliography and resources:
Harry Buckie, "Hill, Samuel Prout (1821-1861)", Australian dictionary of biography 1 (1966)
http://adb.anu.edu.au/biography/hill-samuel-prout-2183
"Samuel Prout Hill", Design & Art Australia Online (DAAO)
http://www.daao.org.au/bio/samuel-prout-hill
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

HOOD Major Lloydview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
OOD, Major Lloyd (M. L. HOOD)
Music lithographer, artist
Born Hobart Town, VDL (TAS), 1 July 1834 (son of Robin HOOD and Sarah LLOYD) Died Hobart, TAS, 16 January 1913
https://trove.nla.gov.au/search?l-publictag=Major+Lloyd+Hood+d1913 (TROVE tagged by Australharmony)

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Houdin Harryview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
HOUDIN, Harry (Harry HOUDIN, alias of DOUGAN; ? DUGGAN)
Musician, entertainer, magician, mimic, concertina player, vocalist, dancer, photographer, photographic artist
Active Kyneton, VIC, by October 1859 Departed Hobart, TAS, January 1863 (per Hargraves, for New Zealand Died Taranaki, NZ, June 1869
https://trove.nla.gov.au/search?l-publictag=Harry+Houdin+d+NZ+1869+Dougan (TROVE tagged by Australharmony)

Documentation:
"AMUSEMENTS", The Kyneton Observer [VIC] (13 October 1859), 2
http://nla.gov.au/nla.news-article240847075
[Advertisement], Illawarra Mercury [Wollongong, NSW] (7 December 1860), 3
http://nla.gov.au/nla.news-article132222919
Assembly Rooms, Queen's Hotel. MR. W. H. STEPHENS, the celebrated Comedian and Comic Vocalist, will appear in his new Entertainment, entitled, "WHERE I WENT, AND WHAT I SAW" . . . ON MONDAY AND TUESDAY EVENINGS, DECEMBER , 10th and 11th. Mr. HARRY HOUDIN will also appear in his great and equally surprising POLYNATIONAL ENTERTAINMENT. In the course of the evening, MISS RAYMOND will Sing several BALLADS AND SONGS. Mr. MARMADUKE H. WILSON (the celebrated Composer and Pianist) will PRESIDE AT THE PIANOFORTE . . . MR. W. H. STEPHENS and MR. HARRY HOUDIN, will Visit SHOALHAVEN ON WEDNESDAY AND THURSDAY, 12th AND 13th DECEMBER.
ASSOCIATIONS: William Henry Stephens (actor, vocalist); Marie Pauline Raymond (vocalist); Marmaduke Henry Wilson (pianist)
[Advertisement], Bell's Life in Sydney and Sporting Chronicle (22 December 1869), 3
http://nla.gov.au/nla.news-article59788481
TEMPERANCE HALL! MR. W. H. STEPHENS having secured the above building for the CHRISTMAS and NEW YEAR'S Holidays, begs to announce that on MONDAY EVENING, Dec. 24th, MR. HARRY HOUDIN, The great Polynationalist, will make his first appearance in his DRAWING ROOM MAGIC and wonderful POLYNATIONAL ENTERTAINMENT. Introducing Innumerable Characters, Songs, Dances, &c., of many Lands and Languages; concluding with his great Negro Impersonation of BROTHER BONES, Accompanying himself on the Concertina, Bones, Whistle, and various Instruments. In the course of the evening, MISS MARIE PAULINE RAYMOND, (From the Exeter Hull Concerts) will introduce several Favourite Ballads, &c. On WEDNESDAY EVENING, DECEMBER 20TH. Mr. W. H. STEPHENS Will give (for the first time here) his New Entertainment, entitled WHERE I WENT, AND WHAT I SAW. Interspersed with Comic and Descriptive Songs. Mr. MARMADUKE H. WILSON (The Celebrated Composer and 'Pianist) will preside at the Pianoforte, and execute several Musical Morceaux, embracing his newest compositions. Doors open at half-past 7. Commence at 8.; Reserved Seats, 3s.; Front Do., 2s.; Back Do., 1s.
ASSOCIATIONS: Temperance Hall (Sydney venue)
"ENTERTAINMENT OF MESSRS. STEPHENS AND HOUDIN", The Sydney Morning Herald (28 December 1860), 5
http://nla.gov.au/nla.news-article28627050
. . . To this exhibition of drawing-room magic succeeded a pleasing ballad sung by Miss M. P. Raymond, a fair young debutante who possesses a very fine voice, and bids fair to become a favourite. The entire absence of affectation, and the undeniably good taste and simplicity with which this lady sings, render her interpretation of ballad music extremely effective . . .
[Advertisement], Empire (31 December 1860), 1
http://nla.gov.au/nla.news-article60504299
TEMPERANCE HALL. TO-NIGHT, December 31. LAST NIGHT of Mr. W. H. STEPHENS' ENTERTAINMENT, WHERE I WENT AND WHAT I SAW! Parts 1 and 2. From Sydney to New York, via California and Panama, With new Songs, Anecdotes, and Characteristic Sketches. LAST, NIGHT of Miss M. P. MAYNARD [sic], the favourite Ballad Singer. LAST NIGHT of M. H. WILSON'S New Overtures. Concluding with HARRY HOUDINS's Polynational Entertainment . . .
[Advertisement], Clarence and Richmond Examiner and New England Advertiser [Grafton, NSW] (21 January 1862), 3
http://nla.gov.au/nla.news-article61891684
"SHIPPING", Hobart Town Advertiser [Weekly Edition] (14 February 1863), 4
http://nla.gov.au/nla.news-article264721632
"TARANAKI (FROM OUR OWN CORRESPONDENT) NEW PLYMOUTH, July 6th", Otago Witness (24 July 1869), 3
https://paperspast.natlib.govt.nz/newspapers/OW18690724.2.7
" Harry Houdin," - whose real name, I believe, was Dougan - whose name was familiar to the public some few years since aa that of a successful mimic, and who gave several entertainments in different parts of the colony, died in this town a few weeks since. For three or four years he was an almost helpless mortal, being affected with paralysis.
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Wooler Johnview full entry

Reference: see Jaspper52 auction, New York, NY, United States, 14.9.22, lot 29: his is an original oil painting on canvas by John Wooler, a noted photographer and painter (South Australian, Early 20th century). The large framed painting features wooded river bed landscape scene in South Australia.; This is a Beautiful Landscape painting with pink orange sunset colors, its ready to hang .; Signed and dated for 1913.; Frame: 36 3/4 x 28 1/2". Sight: 33 1/2 x 25 1/2".

Jones Charles Edward scenic artistview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
JONES, Charles Edward (Charles Edward JONES; Charles JONES; Mr. C. JONES)
Theatrical/scenic artist, machinist, vocalist, agent
Born ? Bimingham, England, c. 1813 Active Hobart, VDL (TAS), by c. 1840 Married (Christina) Mary THOMSON, Hobart Town, VDL (TAS), 9 August 1841 (aged "18", "14" according to death certificate) Died (suicide) Woolloomooloo, NSW, 29 June 1864
https://trove.nla.gov.au/search?l-publictag=Charles+Edward+Jones+d1864 (TROVE tagged by Australharmony)
https://sydney.edu.au/paradisec/australharmony/register-J.php#JONES-Charles-Edward (shareable link to this entry)
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Jourde E photographerview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
JOURDE, E. (Mons. JOURDE; E. JOURDE; ? Ernest JOURDE)
Violinist, photographer
Active Maitland, NSW, 1857
https://sydney.edu.au/paradisec/australharmony/register-J.php#JOURDE-E (shareable link to this entry)

Documentation:
? [Advertisement], The Sydney Morning Herald (11 July 1856), 8
http://nla.gov.au/nla.news-article12984659
ERNEST JOURDE. - Write to Mr. DE JOSSELIN at Braidwood. He has a home letter for you.
[Advertisement], Bathurst Free Press and Mining Journal (25 November 1857), 3
http://nla.gov.au/nla.news-article62047198
"AMATEUR CONCERT", Bathurst Free Press and Mining Journal (25 November 1857), 2
http://nla.gov.au/nla.news-article62047199
It is hardly necessary to remind our readers that this Concert will come off to-morrow evening at the Victoria Theatre, and should the weather prove auspicious, we doubt not that a very fine and brilliant audience will be assembled to do justice to the efforts which have been made to render this entertainment worthy not only of the object which it is intended to aid, but also of the patronage which has been extended to it so generally. We understand that the Concert has received a great accession in the person of M. Jourde, a recent arrival in Bathurst, and a highly accomplished violinist, who has kindly volunteered his services upon the occasion.
"DAGUERREOTYPE", Bathurst Free Press and Mining Journal (28 November 1857), 2
http://nla.gov.au/nla.news-article62049788
We hare inspected some beautiful specimens of this wonderful art at the atelier of M. Jourde, at Mr. Goode's, George-street, who is obliged to delay the opening of his gallery of daguerreotype portraits of all sizes, until Thursday next, in consequence of the non-arrival of some chemical ingredients essential to the successful production of these works of art . . .
"ARTISTIC", Bathurst Free Press and Mining Journal (16 December 1857), 2
http://nla.gov.au/nla.news-article62053580

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Lau Hermannview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
LAU, Hermann (Peter Diedrich Hermann LAU)
Vocalist, accordion player, composer, naturalist, artist, writer, Indigenous culture recorder
Born Soerup, Schleswig-Holstein, Germany, 22 November 1822 In Australia (NSW, QLD) 1854-59, 1862-?1892/3 Died Gluecksburg (Ostsee), Schleswig-Holstein, 25 May 1904
http://nla.gov.au/nla.party-1077395 (NLA persistent identifier)

Summary:
Son of Johann Friedrich Lau (1775-1856), who served as pastor in Soerup (1821) and Gluecksburg (1827-45). Hermann Lau married Elisabeth Toosbuey, and they had 2 children. He was in New South Wales 1854-59, 1860-62 in Hamburg, and 1862-66 in Grafton New South Wales. His whereabouts 1862-92 are unknown, though a Mr. H. Lau departed Sydney for Europe in March 1893. From 1893 until his death in 1904 he lived in Gluecksburg.

Documentation:
[Advertisement], The Goulburn Herald and County of Argyle Advertiser (24 February 1855), 3
http://nla.gov.au/nla.news-article118312237
Grand Farewell Concert. Carlo Ryffel & Ermano Lau, WITH THE KIND ASSISTANCE OF MR. HOLLAND, ON TUESDAY NEXT, FEBRUARY 27, AT THE COMMERCIAL HOTEL, GOULBURN. ADMISSION - Front Seats, 5s.; back ditto, 3s.  Tickets to be had at Mr. Samuel Davis's, Australian Store; Mr. Greig, Baker; Mr. L. Jones, Salutation Inn; Mr. Woodward, Commercial Hotel; and of Mr. Margules, at the Salutation Store. Doors open at 7 o'clock; to commence at 8 o'clock.
ASSOCIATIONS: Carlo Ryffel (musician)
"CONCERT AT THE SCHOOL OF ARTS", Clarence and Richmond Examiner (8 April 1862), 2
http://nla.gov.au/nla.news-article61891853
The "novelty," and if we may judge from the tumultuous applause of the audience, the "hit" of the evening's entertainment, was Mr. Lau's exhibition of skill in playing the German accordion, and we were really surprised, to see how much can, be made of so homely an instrument. The addition of bells, an invention of Mr. Lau's, had a very pleasing and exhilarating effect - especially in the "Remembrances of New South Wales" composed by the performer.
[News], Süd Australische Zeitung (3 September 1862), 2
http://nla.gov.au/nla.news-article83805438
[Advertisement], Clarence and Richmond Examiner (21 October 1862), 3
http://nla.gov.au/nla.news-article61892314
"CONCERT", Clarence and Richmond Examiner (4 November 1862), 2
http://nla.gov.au/nla.news-article61892355
[Advertisement], The Maitland Mercury (18 June 1863), 1
http://nla.gov.au/nla.news-article18702416
[Advertisement], Clarence and Richmond Examiner (3 April 1866), 1
http://nla.gov.au/nla.news-article63663775
"PASSENGERS PER R.M.S. OCEANA", The Sydney Morning Herald (31 March 1893), 4
http://nla.gov.au/nla.news-article13903166
? "THE GOOMBUNGEE SHOW. A LARGE GATHERING", The Brisbane Courier (11 September 1905), 5
http://nla.gov.au/nla.news-article19408923

Bibliography and resources:
Herman Lau, DAAO
http://www.daao.org.au/bio/hermann-lau
C. Anderson, Palaeontological notes no. II: Meiolania platyceps Owen and Varanus (Megalania) priscus (Owen), Records of the Australian Museum 17/7 (20 February 1930), 309-316, plates xlvii-li; 313-314
http://australianmuseum.net.au/uploads/journals/17179/768_complete.pdf
John Fletcher, Hermann Lau and his sojourns (1854-1859) in Sydney, Goulburn, Braidwood, Araluen, Moruya and Shoalhaven (Sydney: Book Collectors' Society of Australia, 1991)
https://trove.nla.gov.au/version/24073207
Ray Humphrys, Bonyi-Bonyi: life and legends of the Bunya Mountains (Nanango: Wyndham Observer, 1992)
https://trove.nla.gov.au/work/8421955

Works:
Hermann Lau, Vier Jahre in Australien. Selbsterlebnisse und Reisebilder aus der Colonie New-South-Wales (Hamburg: [Selbstverlag], 1860)
https://trove.nla.gov.au/version/43052734
[? unpublished diary, cited by Humphrys]

Thanks (March 2015): To Berthold Hamer, of Gluecksburg, for kindly sharing biographical information incorporated in revised entry (2015-03-26)
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Lesueur, Charles-Alexandrview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
LESUEUR, Charles-Alexandre
Gunner, artist, natural historian, Indigenous culture and music recorder
Born Le Havre, France, 1 January 1778 Active NSW and Tasmania, 1801-03 Died Le Havre, 12 December 1846
http://nla.gov.au/nla.party-903614 (NLA persistent identifier)

Summary:
Lesueur and his colleague, the astronomer Pierre-François BERNIER, notated the 3 music items printed as Plate 32 in Lesueur and Petit 1824. Manuscript music material relating to the print is held in the Lesueur collection, Muséum d'Histoire Naturelle, Le Havre; music items no. 16057R, 16059-1; reproduced in Fornasiero and West-Sooby 2015, 24-25.

Musical editions:
https://sydney.edu.au/paradisec/australharmony/checklist-indigenous-music-1.php#001
https://sydney.edu.au/paradisec/australharmony/checklist-indigenous-music-1.php#003

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

LIGHT Colonel Williamview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
LIGHT, William (Colonel LIGHT)
Amateur musician, surveyor
Born Kuala Kedah, Kedah, Malaysia, 27 April 1786 Arrived SA, 11 September 1836 Died SA, 6 October 1839
http://nla.gov.au/nla.party-499032 (NLA persistent identifier)

Documentation:
"COLONEL LIGHT", South Australian Register (3 February 1859), 2
http://nla.gov.au/nla.news-article49902550
... Captain William Light, distinguished by the variety of his attainments, an artist, musician, mechanist, seaman, and soldier ...

Bibliography and resources:
David F. Elder, Light, "William (1786-1839)", Australian dictionary of biography 2 (1967)
http://adb.anu.edu.au/biography/light-william-2359

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

LILEY Thomas lithographerview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
LILEY, Thomas (Thomas LILEY; T. LILEY)
Printer, lithographer, convict
Born England, c. 1802 Arrived Hobart Town, VDL (TAS), 18 November 1831 (convict per Lord Lyndoch, from London, 20 July) Married Bridget , Sydney, 1844 Active Sydney, NSW, 1842-47/48
https://trove.nla.gov.au/search?l-publictag=Thomas+Liley+lithographic+printer (TROVE tagged by Australharmony)
See also checklist of sheet music prints:
https://sydney.edu.au/paradisec/australharmony/checklist-sheet-music-1834-c1850.php#LILEY

Summary:
In 1842, from premises in Brougham-place, Sydney, Liley lithographed and printed for Isaac Nathan, three sheet music editions: Koorinda Braia (first edition), Mable Macmahon, and Star of the South. In 1842, with Thomas Bluett, he produced at least one printed map signed "Liley & Bluet Lithographers", and the presence of the same handwriting in both Liley's and Bluett's prints for Nathan suggests that they were all perhaps at least partly joint productions.
Neidorf also suggests (249) that Liley was "T. L." in Woolcott and Clarke's Australian presentation album for 1855 (see left foot of the last music page of Why do I weep for thee and all music pages of Volunteer march . . .), however, there is no other evidence that he was still in Sydney after 1847, and he was plausibly the Liley who left the colony for New Zealand in July 1848.

Documentation:
Thomas Liley, 16 September 1830; The proceedings of the Old Bailey online
https://www.oldbaileyonline.org/browse.jsp?div=t18300916-246
1710. THOMAS LILEY was indicted for stealing, on the 12th of July , 1 looking-glass, value 5s.; 1 set of fire-irons, value 3s., and 1 piece of bed-furniture, value 1s., the goods of Thomas Fawcett . . .
. . . GUILTY. Aged 27. - Transported for Seven Years.
Thomas Liley, convict records; Tasmanian names index;
https://stors.tas.gov.au/CON31-1-28$init=CON31-1-28p72
https://stors.tas.gov.au/CON18-1-12$init=CON18-1-12p164
"Hobart Town Police Report", Colonial Times (11 March 1834), 7
http://nla.gov.au/nla.news-article8647467
. . . Thomas Liley, charged with misappropriation of Government paper, and his labour in Government time, was ordered the tread-wheel for seven days, and to be confined in a cell at night . . .
[Government notices], The Hobart Town Courier (16 June 1837), 1
http://nla.gov.au/nla.news-article4171245
Tickets of Leave . . . Thomas Liley, Lord Lyndoch . . .
? "Shipping Intelligence. DEPARTURES", The Sentinel (20 July 1848), 2
http://nla.gov.au/nla.news-article226461782
July 16 - Spec, schooner, 175 tons, Captain Burns for the Bay of Islands and Auckland. Passengers - Captain J. Salmon, Mr. J. P. Lloyd, Mr. James Sheppard, Mr. and Mrs. Liley . . .

Bibliography and resources:
Neidorf 1999, 191 (see also 154, 249, 326)
http://ro.uow.edu.au/theses/2926 (DIGITISED)

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

McCRAE Georgianaview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
McCRAE, Georgiana
Amateur musician, pianist, music copyist, artist, diarist
Born London, England, 15 March 1804 Arrived Victoria, 1840-41 Died Melbourne, VIC, 24 May 1890
http://nla.gov.au/nla.party-542528 (NLA persistent identifier)

Summary (after Richards):
Of McCrae's five extant manuscript music books:
[1] MS begun in Britain and was still being copied into as late as 1842, in Melbourne; State Library of Victoria (La Trobe Library), MS 12018 Box 2519/4
[2] MS, "Chaplin Music Book", University of Sydney, Fisher Library Rare Books 1164.9, dated from 1840 (before emigration) and bound in Melbourne in 1856, the last item, a copy of "The lass of Richmond Hill" is inscribed "GMC Richmond 12th May 1855".
[3] MS described by Rosemary Richards (McCrae Homestead Music Book), was copied in Britain 1822-24
[4] MS music books in State Library of Victoria (La Trobe Library) copied in Britain, "Music Notebook", MS 12831, Box 3740/9(a)
[5] MS music books in State Library of Victoria (La Trobe Library) copied in Britain, "Gordon Castle Music Book", MS 12018 Box 2516/3.

Bibliography and resources:
Norman Cowper, "McCrae, Georgiana Huntly (1804-1890)", Australian dictionary of biography 2 (1967)
http://adb.anu.edu.au/biography/mccrae-georgiana-huntly-2392
Rosemary Jean Richards, Georgiana Gordon McCrae's songbook of 1822-1824 (M.A. (Music) thesis, Monash University, 1997)
https://trove.nla.gov.au/work/24069328
Rosemary Richards, 'Frae the friends and land I love': the 'McCrae Homestead music book' (Melbourne: Author, 2005)
https://trove.nla.gov.au/work/7468419
Rosemary Richards, Georgiana McCrae's manuscript music collections: a life in music (Ph.D thesis, University of Melbourne, 2017)
https://minerva-access.unimelb.edu.au/handle/11343/192295 (DIGITISED)
http://hdl.handle.net/11343/192295 (DIGITISED)

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

MASON Cyrus view full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
MASON, Cyrus (Cyrus MASON)
Music lithographer, musical amateur, founder of musical societies, visual artist
Born Camberwell, London, England, 1829; son of John MASON and Jane BROWNING Arrived Melbourne, VIC, 27 April 1853 (per James L. Bogart, from London) Died East Melbourne, VIC, 8 August 1915, aged 86
http://nla.gov.au/nla.party-481730 (NLA persistent identifier)
https://trove.nla.gov.au/search?l-publictag=Cyrus+Mason (TROVE tagged by Australharmony)

Documentation:
England census, 30 March 1851; Middlesex, Staines; UK National Archives, HO 107/1696
https://www.ancestry.com.au/interactive/8860/BRKHO107_1696_1696-0476/3760755
28 [Hale Bridge] / John Mason / Head / 54 / Gentleman . . . Jane Mason / Wife / 50 . . . Cyrus Mason / Son / 22 / Artist / [born] Surry Camberwell . . .
"SHIPPING INTELLIGENCE", The Argus (28 April 1853), 4
http://nla.gov.au/nla.news-article4792073
[Advertisement], The Argus (5 May 1853), 1
http://nla.gov.au/nla.news-article4792288
[Advertisement], The Age (16 December 1854), 1
http://nla.gov.au/nla.news-article154850842
VICTORIAN WALTZ, composed by Mrs. Charles Leny [recte Terry]. Price 4s. CYRUS MASON, 35 Swanston Street.
[Advertisement], The Argus (22 December 1854), 1
http://nla.gov.au/nla.news-article4802130
"NEW SONG", The Argus (23 January 1855), 5
http://nla.gov.au/nla.news-article4803412
We have received a copy of an original song, published by Mr. Cyrus Mason, which has for its title The Song of the Bush. It is illustrated by a lithograph of rather primitive execution, which depicts four hirsute bush men, engaging themselves with a smoke and bottled beer, in the foreground a fifth frying chops, and three old men kangaroos hopping about in the distance . . .
"NEW MUSIC", The Argus (1 May 1857), 5
http://nla.gov.au/nla.news-article7148912
Mr. Weinritter, the composer of the "Kangaroo Hunt Polka," has just published a new schottische, called the "Picnic Point Schottische" . . . It is neatly lithographed by Mr. Cyrus Mason, and is embellished with a view of the favourite spot whence it taken its name.
"DEATHS", The Argus (11 August 1915), 1
http://nla.gov.au/nla.news-article1547352
"THE BUONARTI CLUB. BOHEMIANS OF THE 'EIGHTIES", The Argus (10 August 1929), 3s
http://nla.gov.au/nla.news-article4028563

Musical prints:
Australian song: The song of the bush ("words by Velocipede; music by Rimmer") ([Melbourne: Cyrus Mason, 1854])
NO COPY IDENTIFIED
The Victorian waltz (composed by Mrs. Chas. Terry) (Melbourne: Cyrus Mason. Lith, [1854])
Copy in album collected, c.1853-1856, by Marianne Rolfe Sargood, private collection
The Pic-nic Point schottische for piano composed by G. M. Weinritter (Melbourne: J. Wilkie, [1857])
https://trove.nla.gov.au/version/14900576
The Melbourne varsovienne (Melbourne: Wilkie, [185-?])
https://trove.nla.gov.au/work/5896703

Other:
Monument in memory of N. C. Bochsa (erected by Anna Bishop over his grave in Camperdown Cemetry, 1856; drawn by E. Thomas, Cyrus Mason lithographer, Melbourne)
https://trove.nla.gov.au/version/51576845

Bibliography and resources:
Neidorf 1999, 316
http://ro.uow.edu.au/theses/2926
"Cyrus Mason", Design & Art Australia Online (DAAO)
http://www.daao.org.au/bio/cyrus-mason
See also Mason Family Papers (State Library of Victoria)
https://trove.nla.gov.au/version/7433706

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

MUNDY Henry view full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
MUNDY, Henry (MUNDAY)
Professor of art and music, painter, piano tuner, composer
Born London, 9 January 1798 Arrived Hobart Town, VDL (TAS), 22 August 1831 (free per Vibilia) Died Hobart Town, 24 March 1848
http://nla.gov.au/nla.party-1485510 (NLA persistent identifier)
https://trove.nla.gov.au/search?l-publictag=Henry+Mundy+d1848 (TROVE tagged by Australharmony)

se also
MUNDY, Lavinia (Miss LORD; Mrs. Henry MUNDY; Mrs. Samuel DRAKE)
Amateur pianist
Married Henry Mundy, Sorell, TAS, 28 January 1834 Died TAS, 20 September 1875, aged 57

Summary:
Painter, composer, teacher of music and art, Mundy was found dead at the Ship Hotel, Hobart Town in March 1848, having killed himself by drinking a tumbler-full of laudanum.
He had arrived at Hobart Town as a steerage passenger in the Vibilia on 1831, having been engaged in London on behalf of Mr. and Mrs. George Carr Clark of Ellinthorp Hall, a private school for young ladies near Ross, to teach drawing, music and French (Benjamin Duterrau and his daughter Sarah Jane had been offered the positions first in London, but had not taken them up). Around this time Jane Franklin observed that the school was a place more "noted for its balls and concerts and matchmaking" than its reputation teaching. While at the school Mundy composed quadrilles and waltzes, the printed scores of which were dedicated to his pupils. They were published in London in 1838 and 1839 and sold in Hobart and Launceston. However, until recently, no copies had been identified.
In 2014 Peter Sims reported that an owner-bound book of sheet music had been recently discovered in a Launceston opportunity shop. It is now in the Peter Sims Collection at the Queen Victoria Museum and Art Gallery, Launceston, TAS, under the shelf number CHS37 E.2/9B. The book contains mostly London prints of music for piano and harp of the 1830s, but also includes a complete run of Mundy's Eight Sets of Quadrilles (London: Robert Cocks) which must have been printed no later than 1837, since copies of which were first advertised for sale in Launceston in April 1838. Sims identified the owner as Eleanor Williams (1832-1863), of Launceston, who may have been a young pupil of Mundy's.

The eight separate prints, each with their own cover, and each consisting of the standard 5 movements (each occupying a single page), 40 pages of music/40 movements in all, are in excellent condition. Sims 2014 includes handsome facsimiles of the complete set.
Musically, this is the largest and significant body of settler musical work to survive from Australia before the 1840s. The quadrilles are far more than just competently crafted, melodically original and texturally varied. Most of them are tonally and chromatically rather more inventive and sophisticated than many other Australian examples of the 1830s, 1840s and 1850s; for instance, the G major "La finale" of the Fourth Set modulates as far away as E flat, then juxtaposes E flat and B major chords en route to the dominant.
Technically, Mundy clearly directed them toward young players; they tend of favour the middle of the keyboard, and mostly avoid long passages in octave especially in the right hand. The Third Set is even more clearly intended as marked, "for small hands", the only one of the eight sets with a subtitle of any sort. Similarly none of the individual movements carries descriptive, figurative or dedicatory titling, though there are some variations in the usual figure titles - 1 "La Pantalon"; 2 "L'Été"; 3 "La Poule"; 4 "Le Pastourelle" or "La Trenise"; 5 "La Finale", "Chasse croise L'Été", or "Chasse croise L'Été et le Moulinet des Dames". Exceptionally, the five movements of the simple and musically direct Fifth Set have no figure titles at all.
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

MUNDY Lavinia view full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
MUNDY, Lavinia (Miss LORD; Mrs. Henry MUNDY; Mrs. Samuel DRAKE)
Amateur pianist
Married Henry Mundy, Sorell, TAS, 28 January 1834 Died TAS, 20 September 1875, aged 57

Summary:
Painter, composer, teacher of music and art, Mundy was found dead at the Ship Hotel, Hobart Town in March 1848, having killed himself by drinking a tumbler-full of laudanum.
He had arrived at Hobart Town as a steerage passenger in the Vibilia on 1831, having been engaged in London on behalf of Mr. and Mrs. George Carr Clark of Ellinthorp Hall, a private school for young ladies near Ross, to teach drawing, music and French (Benjamin Duterrau and his daughter Sarah Jane had been offered the positions first in London, but had not taken them up). Around this time Jane Franklin observed that the school was a place more "noted for its balls and concerts and matchmaking" than its reputation teaching. While at the school Mundy composed quadrilles and waltzes, the printed scores of which were dedicated to his pupils. They were published in London in 1838 and 1839 and sold in Hobart and Launceston. However, until recently, no copies had been identified.
In 2014 Peter Sims reported that an owner-bound book of sheet music had been recently discovered in a Launceston opportunity shop. It is now in the Peter Sims Collection at the Queen Victoria Museum and Art Gallery, Launceston, TAS, under the shelf number CHS37 E.2/9B. The book contains mostly London prints of music for piano and harp of the 1830s, but also includes a complete run of Mundy's Eight Sets of Quadrilles (London: Robert Cocks) which must have been printed no later than 1837, since copies of which were first advertised for sale in Launceston in April 1838. Sims identified the owner as Eleanor Williams (1832-1863), of Launceston, who may have been a young pupil of Mundy's.

The eight separate prints, each with their own cover, and each consisting of the standard 5 movements (each occupying a single page), 40 pages of music/40 movements in all, are in excellent condition. Sims 2014 includes handsome facsimiles of the complete set.
Musically, this is the largest and significant body of settler musical work to survive from Australia before the 1840s. The quadrilles are far more than just competently crafted, melodically original and texturally varied. Most of them are tonally and chromatically rather more inventive and sophisticated than many other Australian examples of the 1830s, 1840s and 1850s; for instance, the G major "La finale" of the Fourth Set modulates as far away as E flat, then juxtaposes E flat and B major chords en route to the dominant.
Technically, Mundy clearly directed them toward young players; they tend of favour the middle of the keyboard, and mostly avoid long passages in octave especially in the right hand. The Third Set is even more clearly intended as marked, "for small hands", the only one of the eight sets with a subtitle of any sort. Similarly none of the individual movements carries descriptive, figurative or dedicatory titling, though there are some variations in the usual figure titles - 1 "La Pantalon"; 2 "L'Été"; 3 "La Poule"; 4 "Le Pastourelle" or "La Trenise"; 5 "La Finale", "Chasse croise L'Été", or "Chasse croise L'Été et le Moulinet des Dames". Exceptionally, the five movements of the simple and musically direct Fifth Set have no figure titles at all. CONTINUED
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Nash John Franklinview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
NASH, John Franklin (John Franklin NASH; J. F. NASH)
Artist, printer, engraver, song publisher
Born Hackney, London, 5 February 1832; baptised St. Marylebone, 1 May 1834; son of Benjamin NASH and Jane ? Arrived Melbourne, VIC, by c. 1853 Departed Melbourne, VIC, by c. 1856 Died King's Norton, Worcestershire, England, 1884 (3rd quarter), aged "52"
https://trove.nla.gov.au/search?l-publictag=John+Franklin+Nash+1832-1884 (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-1487249 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-N.php#NASH-John-Franklin (shareable link to this entry)

Documentation:
Baptisms solemnized in the parish of St. Marylebone . . . in the year 1834; London Metropolitan Archives
https://www.ancestry.com.au/imageviewer/collections/1558/images/31280_194658-00205 (PAYWALL)
https://www.ancestry.com.au/imageviewer/collections/1558/images/31281_a100594-00200 (PAYWALL)
[1834] May 1 / John Franklin son of / Benjamin & Jane / Nash / Exeter St. Paddington / Clerk / [born] 5 Feb. 1832
England census, 30 March 1851, Kensington, Middlesex; UK National Archives, HO 107 / 1468
https://www.ancestry.com.au/imageviewer/collections/8860/images/MDXHO107_1468_1468-0627 (PAYWALL)
Campbell Hill terrace No. 1 / John Thompson / Head / 65 / Artist Xylographist / [born] Manchester John Franklin Nash / Articled Pupil / 19 / Artist's App. / [born] Hackney Mddx.
[Advertisement], The Argus (25 October 1853), 8
http://nla.gov.au/nla.news-article4798580
M. J. FRANKLIN NASH, Designer and Engraver on Wood. Orders taken at 14 Swanston-street south.
[Advertisements], The Argus (24 June 1854), 8
http://nla.gov.au/nla.news-article4794236
BOOKS - Whistle Binkie, with autographs, and a variety of Song Books. Arthur and Nash, Smith-street.
WOOD Engraving. - J. F. Nash, Draughtsman and Engraver, Smith-street, Collingwood.
[Advertisement], The Argus (14 October 1854), 8
http://nla.gov.au/nla.news-article4798981
DISSOLUTION of Partnership. - Notice is hereby given that the partnership hitherto existing between William Arthur, and John Franklin Nash, Booksellers, Stationers and Engravers, of Smith-street, Collingwood, is this day dissolved by mutual consent. WILLIAM ARTHUR, JOHN FRANKLIN NASH. Witness: - Henry Green. Melbourne, October 13,1854.
[Advertisement], The Argus 10 March 1855), 7
http://nla.gov.au/nla.news-article4805430
PUBLISHED This Day, Price 2d. each, Nos. 1, 2, and 3, of Popular Songs. Sold by J. F. Nash, 42 Flinders-lane east. E. W. Arthur, Wellington-street, Collingwood.
"MELBOURNE", Geelong Advertiser and Intelligencer (25 July 1855), 2
http://nla.gov.au/nla.news-article91869177
Yesterday afternoon, Franklin Nash and Charles Lockington, better known as the proprietors of the Melbourne Pictorial Times, were arrested by the police on a charge of of obtaining goods under false pretences . . .
[Advertisement], The Argus (18 August 1855), 7
http://nla.gov.au/nla.news-article4815584
DISSOLUTION OF PARTNERSHIP. - The Partnership hitherto existing between John Franklin Nash and Charles Lockington, trading under the firm of J. F. Nash and Co., as Engravers, Printers, and Publishers, is this day dissolved by mutual consent. Signed - J. FRANKLIN NASH, C. LOCKINGTON. Witness, John Glyndro. Melbourne, August 17th, 1855.

Publications:
Sir Roger, a Tichborne ballad ([London]: H. G. Clarke, [1873]) ["J. F. Nash Sc."]
https://trove.nla.gov.au/work/5585716
http://nla.gov.au/nla.obj-82003479 (DIGITISED)
https://trove.nla.gov.au/work/5585765
http://nla.gov.au/nla.obj-82094613 (DIGITISED)
https://trove.nla.gov.au/work/170820458
ASSOCIATIONS: Tichborne claimant

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Dennis Alfred George (scenic artist)view full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online, under margaret Newman

OAKEY Alfredview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
OAKEY, Alfred (Alfred OAKEY; Mr. A. OAKEY)
Pianist, composer, cornet-a-piston player, professor of music, concertina player, bandmaster, actor, theatrical manager, photographic artist
Born Shoreditch, London, England, 9 October 1819; baptised St. Leonard's, Shoreditch, 5 March 1820; son of John OAKEY (1783-1854) and Maria MIDDLETON (d. 1865) Married [1] Hepzibah Emily NORMAN (? d. by 1851), St. Dunstan's and All Saints, Stepney, 28 April 1839 Arrived Melbourne, VIC, 26 November 1852 (per Arundel, from London, via Plymouth, 26 July, aged "31", "musician") Married [2] Eliza MILES, St. Kilda, VIC, 24 May 1855 Departed Australia finally, by late 1863 Married [3] Emma DARBY (c. 1846-1918), Nelson, NZ, after 1864 Died Wellington, NZ, 7 December 1896
https://trove.nla.gov.au/search?l-publictag=Alfred+Oakey+1819-1896 (TROVE tagged by Australharmony)
https://sydney.edu.au/paradisec/australharmony/register-O.php#OAKEY-Alfred (shareable link to this entry)
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

OFFOR John view full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
OFFOR, John (John OFFOR; Mr. OFFER; Mr. HOFFER)
Amateur musician, violoncello player, former London and Cambridge bookseller and publisher, master of the orphan school, colonial public servant, accountant, auditor, artist
Born Cripplegate, London, England, 16 January 1789; son of George OFFER and Mary ANDREWS Married (1) Jemima BARRACLOUGH (1798-1826), Christ Church, Greyfriars, London, 22 July 1819 Arrived Hobart Town, VDL (TAS), 3 January 1829 (per Persian, from London, 25 August 1828) Married (2) Madelina MORGAN (Mrs. CRAIG) (d. 1846), St. David's, Hobart Town, 14 May 1835 Died Hobart Town, VDL (TAS), 10 July 1848, aged "60"
https://trove.nla.gov.au/search?l-publictag=John+Offor+1789-1848 (TROVE tagged by Australharmony)
https://sydney.edu.au/paradisec/australharmony/register-O.php#OFFOR-John (shareable link to this entry)

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Paulson Annview full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online, under George Wilson Paulson: ‘...Paulson arrived on the Northumberland in 1852, aged just 20, though listed as 22. By 1856 he had settled at Castlemaine, where he married a widow, Georgina Evans. His widowed mother, the artist Ann Paulson, followed him to Victoria in 1858, arriving on the Swiftsure with an older relative, Samuel Dawn.
Paulson's wife, Georgina, was committed to Yarra Bend asylum in Melbourne on 20 February 1870 suffering from "delusional insanity". She died there on 30 January 1887, reportedly aged 60...’
"ANN PAULSON of Mansfield, mid-19th century artist", Our Nottingham
http://www.ournottinghamshire.org.uk/page/paulson_annof_mansfield
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Opie Edward (scenic artist)view full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online, under Charles Platts
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Thomas Edmundview full entry

Reference: see references in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online, under entries for various musicians
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Richards Henry Augustusview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
RICHARDS, Henry Augustus (Henry Augustus Lyell/Lisle RICHARDS; Henry RICHARDS)
Musician, violinist, vocalist, theatre orchestra leader, teacher of music and drawing, artist
Born London, England, 12 June 1816; baptised St. John's, Wapping, 31 August 1817; son of William RICHARDS and Elizabeth ? Married Dorothea EARL, Maitland, NSW, May 1840 Arrived Melbourne, VIC, by April 1844 Arrived Adelaide, SA, 11 July 1847 (per Sister, from Melbourne and Portland) Died Adelaide, SA, 30 April 1850, aged 34
https://trove.nla.gov.au/search?l-publictag=Henry+Augustus+Richards+1816-1850 (TROVE tagged by Australharmony)
https://sydney.edu.au/paradisec/australharmony/register-R-1.php#RICHARDS-Henry-Augustus (shareable link to this entry)
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Richardson George Bouchierview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
RICHARDSON, George Bouchier (George Bouchier RICHARDSON; G. B. RICHARDSON)
Visual artist, journalist, honorary secretary Melbourne Philharmonic Society, ? amateur vocalist
Born Newcastle-upon-Tyne, England, 26 October 1822; baptised St. Andrew's, Newcastle, 22 December 1822; son of Moses Aaron RICHARDSON (1793-1871) and Ann BOUCHIER (1802-1875) Arrived Melbourne, VIC, 19 August 1854 (per Great Britain, from Liverpool, 12 June) Died Adelaide, SA, 28 November 1877
https://trove.nla.gov.au/search?l-publictag=George+Bouchier+Richardson+1822-1877 (TROVE tagged by Australharmony)
https://nla.gov.au/nla.party-1484963 (NLA persistent identifier)
http://worldcat.org/identities/lccn-nb2008020152 (WorldCat identities)
https://sydney.edu.au/paradisec/australharmony/register-R-1.php#RICHARDSON-George-Bouchier (shareable link to this entry)
ASSOCIATIONS: Melbourne Philharmonic Society

Summary:
Richardson, a printer and bookseller, was also active as a local historian and public lecturer in his native Newcastle. His father having preceded him to the colony in 1849/50, he sailed from Liverpool on the Great Britain in June 1854, arriving in Melbourne on 25 August. Richardson was already secretary of Melbourne's Mechanics' Institution when he also assumed a similar role for the Philharmonic Society, by mid 1855 or earlier. His brother was the artist John Thomas Richardson.

Documentation:
[Advertisement], Newcastle Journal (4 December 1847), 2
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000243/18471204/050/0002 (PAYWALL)
This Day is Published, (the Illuminations by George Bouchier Richardson,) AN ILLUMINATED CHRISTMAS CAROL, for Eighteen-Hundred and Forty-Seven. By MISS E. HODGES. Price One Shilling. M. A. Richardson, Grey Street, Newcastle-upon-Tyne, Of whom may be had, a few Copies of "The ALIEN CHILDS' HOLY CHRIST," by the same Author.
[Advertisement], Newcastle Journal (7 July 1849), 2
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000243/18490707/041/0002 (PAYWALL)
RICHARDSON'S PRINTING, PURLTSHING, STATIONERY, and BOOKSELLING ESTABLISHMENT, Newcastle-upon-Tyne. Grey Street, Newcastle, 6th July, 1849. Considerations of Health compelling to relinquish Business with view of proceeding to a Warmer Climate, at the End of the present Month, I take the present Opportunity, not only tendering to Friends and the Public, my most hearty Thanks for the Liberal Support they have afforded during the Twenty-five Years I have been in Business, but, to announce that my Son, G. B. RICHARDSON, will continue it in all its Branches without Interruption, and earnestly solicit the continuance of your Favours on his behalf. My Son's long Connexion with me, the active Part he has taken in my Concern, and the Experience he has acquired, render me certain that your Confidence will not misplaced. Trusting to your favourable Consideration, I have the Honour to remain, Your obedient Servant, M. A. RICHARDSON . . . Removal will effected to a New and more Commodious Shop and Printing Office in Clayton Street, of which due Notice will given .
[News], Newcastle Guardian and Tyne Mercury (10 June 1854), 5
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000366/18540610/008/0005 (PAYWALL)
On Tuesday, a farewell dinner was given to Mr. Bouchier Richardson, printer and bookseller, who is about to leave this town for Australia. Between twenty and thirty gentlemen sat down to an excellent dinner, at Mr. Thompson's, the Royal Hotel, Wm. Newton in the chair.
Australia (from August 1854):
[Advertisement], The Argus (12 September 1855), 8
http://nla.gov.au/nla.news-article4817930
PHILHARMONIC SOCIETY, Mechanics' Institution. Selections of Sacred Music From Handel's "Judas Maccabaeus" and "Israel in Egypt," and Mendelssohn's "St. Paul" and "Elijah." Chorus of One Hundred. Tuesday, 18th September, at half-past seven precisely. Reserved scots, 6s.; unreserved, 4s.. To be at Messrs. Wilkie's, Blundell's, and Slater, Williams, and Hodgson's; and at the Institution. G. BOUCHIER RICHARDSON, Hon. Sec.
[Advertisement], The Argus (14 November 1855), 8
http://nla.gov.au/nla.news-article4823280
PHILHARMONIC SOCIETY, Mechanics' Institution. - Fifth Subscription Concert will be given on Tuesday, 20th November, at half-past seven p.m. Principal vocalists: Mrs. Testar, Mrs. Goodliffe. Tickets, 5s. each, to be had of Messrs. Blundell, Wiklie, and Slater, Williams, and Hodgson; and at the Institution. N.B. Subscribers who have not received their tickets, or who have altered their addresses, are requested to communicate with G. BOUCHIER RICHARDSON, Hon. Sec.
"MELBOURNE PHILHARMONIC SOCIETY", The Argus (4 January 1856), 5
http://nla.gov.au/nla.news-article4827385
The second annual meeting of this society was held yesterday evening in the hall of the Mechanics' Institution. The meeting was very well attended, though apologies for absence were received from the President of the Society, Mr. Justice Barry, and the Vice-President, the Rev. Mr. Jarrett. Mr. Russell was voted to the chair, and called upon the Hon. Secretary, Mr. G. B. Richardson, to read the report, which he did as follows - . . .
The election of office-bearers for the ensuing year was made . . . Mr. Justice Barry was re-elected president . . . The Rev. Mr. Jarrett and Captain Pasley were appointed vice-presidents. The further offices were filled up as follows: - Conductor, Mr. Russell; leader, Mr. Griffiths; organist, Mr. Goold; treasurer, Mr. J. J. Blundell; librarian, Mr. Stead; honorary secretary, Mr. G. B. Richardson . . . committee for the ensuing year:- W. G. Dredge; Thomas Ewart; Richard Bradford; Thomas Holme Davis; Benjamin Horton; W. H. Williams; E. Keep; Joseph Edwards . . .
ASSOCIATIONS: Redmond Barry (persident); William Jarrett and Charles Pasley (vice-presidents); John Russell (conductor); Joseph Griffiths (violin, leader); Thomas Green Goold (organ); James John Blundell (treasurer); William Gilpin Dredge (committee); Thomas Ewart (committee); Thomas Holme Davis (committee); William Henry Williams (committee)
[Advertisement], The Argus (30 January 1856), 8
http://nla.gov.au/nla.news-article4829430
PHILHARMONIC SOCIETY, EXHIBITION BUILDING. On Wednesday, 13th February, will he performed Haydn's Grand Oratorio THE CREATION. Annual Subscribers of two guineas will be entitled to two tickets for each Concert; and of four guineas, five tickets. Non-Members' tickets - Reserved seats, 7s. 6d.; Unreserved, 5s.; Reserved family tickets, 30s.; Unreserved, 20s., - to be had of the book and music sellers. G. BOUCHIER RICHARDSON, Hon. Sec.
[Advertisement], The Age (6 January 1857), 1
http://nla.gov.au/nla.news-article154821787
PHILHARMONIC SOCIETY. The Annual General Meeting of the subscribers and members of this society will be held at the Mechanics' Institution, on Tuesday evening, the 6th of January, at half-past seven precisely, to receive the report for the past year, and accounts of receipts and expenditure, to elect the committee and office bearers, and to transact general business. The following special business having been duly notified, according to the rule in that case provided, will be brought forward: - 1. By Mr. W. J. Thomas, in reference to the appointment of a paid secretary, defining his duties and fixing the amount of his salary. 2. By Mr. Thomas Ewart: That, in future, performing members shall only be admitted on the recommendation of a sub-committee to be appointed for that purpose. G. BOUCHIER RICHARDSON. Hon. Sec.
"DEATH OF MR. G. B. RICHARDSON", South Australian Register (29 November 1877), 5
http://nla.gov.au/nla.news-article40472082
Mr. G. Bouchier Richardson, artist, of North Adelaide, died suddenly at his residence at 10 o'clock on Wednesday morning . . . Mr. Richardson was formerly a journalist, having been for some years Sub Editor of the Star in Ballarat, and afterwards Editor of the Wallaroo Times in this colony. He left Yorke's Peninsula two or three years ago, and has since been teaching drawing in Adelaide. He leaves a widow and two children, who are, we believe, totally unprovided for.

Other sources:
G. B. Richardson, Creek and old watering stage, on the Yarra, East Collingwood, 1854; Kew Historical Society
https://victoriancollections.net.au/items/5e2ccabd21ea671428127ece
Diary of George B. Richardson; State Library of South Australia
https://trove.nla.gov.au/work/35110754
https://encore.slsa.sa.gov.au/iii/encore/record/C__Rb2173580?lang=eng
George Bouchier Richardson 1822-1877; ArtUK
https://www.artuk.org/discover/artists/richardson-george-bouchier-18221877

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Robinson George Augustusview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
ROBINSON, George Augustus (George Augustus ROBINSON; G. A. ROBINSON)
Amateur musician, flute player, Indigenous culture recorder and reporter (including language, music, song, and dance)
Born London, England, 22 March 1791; son of William ROBINSON and Susannah PERRY Married (1) Maria Amelia EVANS (d. 1848), London, England, 28 February 1814 Arrived Hobart Town, VDL, 20 January 1824 (per Triton, from Leith, 7 September 1823) Departed Melbourne, VIC, 30 May 1852 (per Medway, for London) Married (2) Rose PYNE, London, England, 4 June 1853 Died Bath, England, 18 October 1866
https://trove.nla.gov.au/search?l-publictag=George+Augustus+Robinson (TROVE tagged)
http://nla.gov.au/nla.party-577296 (NLA persistent identifier)
https://en.wikipedia.org/wiki/George_Augustus_Robinson (Wikipedia)
https://sydney.edu.au/paradisec/australharmony/register-R-2.php#ROBINSON-George-Augustus (shareable link to this entry)

https://en.wikipedia.org/wiki/George_Augustus_Robinson#/media/File:Benjamin_Duterrau_-_Mr_Robinson's_first_interview_with_Timmy_-_Google_Art_Project.jpg (DIGITISED)
ASSOCIATIONS: Benjamin Duterrau (artist)

Sources:
George Augustus Robinson papers, 1818-1924; State Library of New South Wales
https://archival.sl.nsw.gov.au/Details/archive/110319172
Microfilm copies of some of the journals have been digitised and uploaded to individual catalogue records, by are currently (2021) not available for general viewing

Editions of sources:
N. J. Brian Plomley, Friendly mission: the Tasmanian journals and papers of George Augustus Robinson, 1829-1834 (Hobart : Tasmanian Historical Research Association, 1966)
https://trove.nla.gov.au/work/8477354
N. J. B. (Brian) Plomley (ed.), Weep in silence: a history of the Flinders Island Aboriginal settlement with the Flinders Island journal of George Augustus Robinson, 1835-1839 (Hobart: Blubber Head Press , 1987)
https://trove.nla.gov.au/work/9658451
Ian D. Clark (ed.), The journals of George Augustus Robinson, chief protector, Port Phillip Aboriginal Protectorate [volumes 1-6, 1 January 1839 - 30 September 1852] (compilation: Melbourne: Clarendon, 2014)
https://trove.nla.gov.au/work/7588068

Bibliography and resources:
"Robinson, George Augustus (1791-1866)", Australian dictionary of biography 2 (1967)
https://adb.anu.edu.au/biography/robinson-george-augustus-2596

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Duterrau Benjaminview full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
ROBINSON, George Augustus (George Augustus ROBINSON; G. A. ROBINSON)
Amateur musician, flute player, Indigenous culture recorder and reporter (including language, music, song, and dance)
Born London, England, 22 March 1791; son of William ROBINSON and Susannah PERRY Married (1) Maria Amelia EVANS (d. 1848), London, England, 28 February 1814 Arrived Hobart Town, VDL, 20 January 1824 (per Triton, from Leith, 7 September 1823) Departed Melbourne, VIC, 30 May 1852 (per Medway, for London) Married (2) Rose PYNE, London, England, 4 June 1853 Died Bath, England, 18 October 1866
https://trove.nla.gov.au/search?l-publictag=George+Augustus+Robinson (TROVE tagged)
http://nla.gov.au/nla.party-577296 (NLA persistent identifier)
https://en.wikipedia.org/wiki/George_Augustus_Robinson (Wikipedia)
https://sydney.edu.au/paradisec/australharmony/register-R-2.php#ROBINSON-George-Augustus (shareable link to this entry)

https://en.wikipedia.org/wiki/George_Augustus_Robinson#/media/File:Benjamin_Duterrau_-_Mr_Robinson's_first_interview_with_Timmy_-_Google_Art_Project.jpg (DIGITISED)
ASSOCIATIONS: Benjamin Duterrau (artist)

Sources:
George Augustus Robinson papers, 1818-1924; State Library of New South Wales
https://archival.sl.nsw.gov.au/Details/archive/110319172
Microfilm copies of some of the journals have been digitised and uploaded to individual catalogue records, by are currently (2021) not available for general viewing

Editions of sources:
N. J. Brian Plomley, Friendly mission: the Tasmanian journals and papers of George Augustus Robinson, 1829-1834 (Hobart : Tasmanian Historical Research Association, 1966)
https://trove.nla.gov.au/work/8477354
N. J. B. (Brian) Plomley (ed.), Weep in silence: a history of the Flinders Island Aboriginal settlement with the Flinders Island journal of George Augustus Robinson, 1835-1839 (Hobart: Blubber Head Press , 1987)
https://trove.nla.gov.au/work/9658451
Ian D. Clark (ed.), The journals of George Augustus Robinson, chief protector, Port Phillip Aboriginal Protectorate [volumes 1-6, 1 January 1839 - 30 September 1852] (compilation: Melbourne: Clarendon, 2014)
https://trove.nla.gov.au/work/7588068

Bibliography and resources:
"Robinson, George Augustus (1791-1866)", Australian dictionary of biography 2 (1967)
https://adb.anu.edu.au/biography/robinson-george-augustus-2596

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Robinson I W lithographerview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
ROBINSON, I. W. (I. W. ROBINSON, ? J. W. ROBINSON; ? T. W. ROBINSON)
Music copyist, lithographer
Active Sydney, NSW, 1842
https://trove.nla.gov.au/search?l-publictag=I+W+Robinson+Script (TROVE tagged by Australharmony)
https://sydney.edu.au/paradisec/australharmony/register-R-2.php#ROBINSON-I-W (shareable link to this entry)

Summary:
"I. W. Robinson" (or J. W. Robinson, or perhaps T. W. Robinson), drew the music on stone ("sculpsit") for the 1842 first edition of Isaac Nathan's ensemble song, Koorinda braia, printed lithographically by Thomas Liley.
He is not yet positively identifiable, although perhaps some connection may be surmised with either the engraver Thomas Robinson (below) or Thomas Wilkie Robinson (below).

Musical prints:
Koorinda Braia, an Aboriginal native song, put into rhythm, harmonised, and inscribed to Mrs. E. Deas Thomson, by I. Nathan (Sydney: [n.p.], 1842)
https://trove.nla.gov.au/work/21236841
http://nla.gov.au/nla.obj-168218284 (DIGITISED)
Page 4, beneath bottom staff, has "I. W. Robinson. Script." [or "J. W. . . ."; or perhaps "T. W. . . ."]
ASSOCIATIONS: Isaac Nathan (composer)

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

ROCHLITZ Julius Albertview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
ROCHLITZ, Julius Albert (Julius Albert ROCHLITZ; Bela ROCHLITZ; RICHLITZ; von ROCHLITZ)
Composer, music teacher, photographer, "daguerrean artist"
Born Rozsnyo, Hungary, 1824 Arrived Geelong, VIC, by October 1853 Departed Melbourne, VIC, May 1863 (per Great Britain, for England, aged "40") Died Budapest, Hungary, 1886
https://trove.nla.gov.au/search?l-publictag=Julius+Albert+Rochlitz+1824-1886 (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-1486873 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-R-2.php#ROCHLITZ-Julius-Albert (shareable link to this entry)
ASSOCIATIONS: Koloman von Rochlitz (brother)

Summary:
Rochlitz first advertised his "Daguerreotype Rooms" at Geelong in late October 1853. He was on the Ballarat diggings by early 1855, and by October 1856 was at Beechworth, where he settled for the remainder of his time in the colony. At Beechworth in 1861, Rochlitz sold off photographic equipment and music books, possibly to fund more lucrative horticultural ventures, only advertising his musical services again in 1863, perhaps as a last resort.
Having been naturalised as a British subject in a certificate dated 26 May 1862, a year later Rochlitz sailed for London. There, through the presses of Schott and Co. in London, Rochlitz ("late Captain Hungarian General Staff") published The Geelong-Melbourne Railway polka, "dedicated to his friends in Australia", perhaps having originally written it for the inauguration of the Geelong railway project in September 1853, or its opening in 1857.
Among the seven other works musical works listed on the cover of the Railway polka, the Evening bouquet polka also survives in a published copy at the British Library.
Another work listed, the Lady Mac Donnell schottisch was probably composed at Beechworth in September 1856, during the visit there by Richard and Blanche Macdonnell (governor of South Australia and wife), when Rochlitz and his then business partner R. H. Acley reportedly took daguerreotype portraits of them.
From early 1860, Rochlitz's brother Koloman von Rochlitz, a surgeon and medical practitioner, was also in Victoria.

Documentation:
[Advertisement], Geelong Advertiser and Intelligencer (26 October 1853), 2
http://nla.gov.au/nla.news-article86413593
DAGUERREOTYPE ROOMS, MOORABOOL-STREET . . . J. A. ROCHLITZ begs to inform the public of Geelong that he has opened the above Rooms . . . Busts, paintings, miniatures, &c., copied with the greatest accuracy . . .
"ST. PAUL'S CHURCH, BAKERY HILL, BALLARAT", The Age (12 March 1855), 3
http://nla.gov.au/nla.news-article154852744
This church was opened on Sunday last, March 4th, for Divine service. The Rev. J. R. Thackeray, M.A., incumbent, of. the parish, preached in the morning . . . and in the evening . . . There was an able choir, presided over by Capt. Rochlite [sic] with his usual ability. Great credit is due to our worthy incumbent and those who assisted him, as a short time ago such a building upon Bakery Hill as St. Paul's was not even thought of, and now, by their energy and perseverance, and the support they received from miners, storekeepers, and others, we have a nice suitable building, with tower and a good bell - quite an ornament to the place . . .
ASSOCIATIONS: James Robert Thackeray (clergyman, musical amateur)
"THE GOVERNOR'S PROGRESS", South Australian Register [Adelaide, SA] (13 October 1856), 3
http://nla.gov.au/nla.news-article49757881
. . . During their brief sojourn in Beechworth, Sir Richard and Lady MacDonnell visited the Woolshed and some of the other gold-fields of the Ovens district, enquiring very particularly into all the varied features which the several localities present. Both Sir Richard and her ladyship honoured Messrs. Aclay and Rochlitz with a sitting for daguerreotypes, both of which were considered excellent specimens of this popular art . . .
ASSOCIATIONS: R. H. Acley (business partner); Richard and Blanche Macdonnell (governor of South Australia and wife)
"MISS HAMILTON'S BENEFIT", Ovens and Murray Advertiser (11 February 1857), 2
http://nla.gov.au/nla.news-article113014004
The complimentary benefit to Miss Hamilton was attended last night by a very numerous audience. Notwithstanding the state of the weather, and the miserable condition of our roads, a very large portion of Messrs. Mackay, Miller and Mackay's store, which was set apart for seats, was inconveniently crowded, while a number of gentlemen found standing and lounging room round the counters which Mr. Winter had converted into temporary bars. Miss Hamilton's singing was warmly applauded, and vociferously encored. The several ballads with which she delighted the audience were well and clearly rendered. Mr. Coulon and Mr. Pierce lent efficient aid in the vocal, and Mr. Rochlitz kindly assisted in the instrumental part of the programme. We understand that from Beechworth this party intend visiting Albury. We trust that they may be more successful there than they have been in Beechworth.
ASSOCIATIONS: Octavia Hamilton (vocalist); Emile Coulon (vocalist); John Ottis Pierce (vocalist)
[Advertisement], Ovens and Murray Advertiser (21 April 1863), 3
http://nla.gov.au/nla.news-article112893307
TUITION, on the PIANO - Six Guineas per Quarter, of 24 Lessons. J. A. ROCHLITZ. VEGETABLES, - wholesale and retail, sold at and under market prices at my Garden. J. A ROCHLITZ.
TUITION, on the PIANO - Six Guineas per Quarter, of 24 Lessons. J. A. ROCHLITZ.
After Australia (from 1863):
[Advertisement], Islington Gazette [London] (9 April 1867), 1
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000438/18670409/028/0001 (PAYWALL)
"Evening Bouquet" and "Melbourne-Geelong Railway" Polkas, to be had, free by post each for 15 stamps, of the author, Mr. Rochlitz, 19, John-street, Penton-street, N.
[Advertisement], Islington Gazette [London] (27 August 1867), 1
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000438/18670827/023/0001 (PAYWALL)
Professor J. A. Rochlitz, a naturalised British subject, Protestant Non-Republican, is prepared to show the highest College Testimonial for Theological, Political, and Law Sciences, Mental and Moral Philosophy, Natural Sciences, Mathematics, Mechanics, Technology, Survey and Perspective, Freehand and Linear Drawing (for civil and military engineers, architects, surveyors, mechanics, decorators), landscape and figures, for the theory, practice, and method of teaching Singing, Piano, and Harmonium (His compositions at Messrs. Mills', Bond-street.) Teaches besides according to his own new method, the Latin, Greek, English, German, Hungarian, French, and Italian Languages. Settled in England permanently establish anti-hierarchic and anti-Jesuitical private College in thorough English Protestant, loyal spirit, as leaven, to bring light and balm against the present Egyptian darkness and its social plagues. He is ready to open for the working (anti-Fenian) classes, high or low. Evening Classes, the easiest terms. Apply personally daily, between 8 and 3, at 19, John-street, Penton-street, N.
[Advertisement], Islington Gazette [London] (8 March 1870), 4
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000438/18700308/033/0004 (PAYWALL)
Glee Clubs. - Mr. J. A. Rochlitz, Professor of Singing and Music, has opened three distinct Glee Clubs, for the encouragement of rational and tasteful amusement, for the English, Hungarian, and German residents of the Londoners. His method is excellent, and the expenses reduced below the moderate. For aristocratic parties Mr. R. is ready to open on liberal terms. Separate lady or gentleman choirs, sacred or social. 19, John-street, Penton-street, N.

Musical works:
Melbourne-Geelong railway polka (composed ? Geelong, 1853 / 1857; publ. London, by c. 1865)
The Geelong-Melbourne railway polka, composed and dedicated to his friends in Australia by Julius Albert von Rochlitz, late captain Hungarian generalstaff (London: Schott & Co., [c. 1865])
https://trove.nla.gov.au/work/16432042
http://nla.gov.au/nla.obj-165914350 (DIGITISED)
The National Library of Australia's copy was already in Australia when it was signed and dated "Blanche R. Baxter, Mornington, Feb. 12th / 66", indicating it must have been published in London no later than the last quarter of 1865; the cover lists, in addition to the Evening bouquet polka (below), 6 other works composed by Rochlitz: [1] Marianna quadrilles; [2] Lady Mac Donnell Schottisch; [3] Lady Louisa Valses; [4] Life's pleasures concert valses; [5] La cascade impromptu; [6] Ismene polka
ASSOCIATIONS: [Mary] Blanche Rosalie Baxter (1846-1927; from 1869, Mrs. John James Courtney)
Evening bouquet polka (publ. London, by c. 1865)
Copy at the British Library
https://discover.libraryhub.jisc.ac.uk/search?q=Rochlitz+Evening+Bouquet+polka

Bibliography and resources:
"Bela Rochlitz", Design & Art Australia Online (DAAO)
http://www.daao.org.au/bio/bela-rochlitz/
Australian railways songs, blogspot; archived at Pandora
http://pandora.nla.gov.au/pan/102803/20100929-0017/railwaysongs.blogspot.com/search80b4.html

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Rodius Charlesview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
RODIUS, Charles (Charles RODIUS; Mr. RODIUS; RHODIUS)
Amateur vocalist, tenor / baritone vocalist, artist, convict
Born Cologne, Germany, 1802 Arrived Sydney, NSW, 6 December 1829 (convict per Sarah, from the Portsmouth hulks, 15 August) ? Married (1) Maria BRYAN, Sydney, NSW, by 1834 Married (2) Harriet ? (c. 1821-1838), Sydney, NSW, by 1838 Married (3) Elizabeth Harriet ALLEN, St. Philip's, Sydney, 1 April 1841 Died Liverpool, NSW, 7 April 1860, aged 56
https://trove.nla.gov.au/search?l-publictag=Charles+Rodius (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-493356 (NLA persistent identifier)
https://en.wikipedia.org/wiki/Charles_Rodius (Wikipedia)
https://sydney.edu.au/paradisec/australharmony/register-R-2.php#RODIUS-Charles (shareable link to this entry)

Summary:
Transported for seven years for stealing a reticule outside the Royal Opera House in London, Charles Rodius (also regularly "Rhodius") was assigned on arrival to the Department of Public Works, but came to public note in his own right as early as March 1830 with his lithographic portrait of Bungaree, elder of the north shore people.
He was perhaps singing in St. Mary's cathedral choir by mid 1836, if not earlier, and was the un-named amateur who appeared as soloist in an unidentified "German song", and in the duet La ci darem la mano, with Marian Chester at her concert on 31 August 1836.
He next appeared, and was identified, singing at William Vincent Wallace's concert and oratorio on 14 and 21 September 1836, and appear with the Wallaces on several other occasions later that year and during 1837.
In July 1838, Rodius, who suffered from "paralytic" attacks, sold up as he was "leaving Sydney for the benefit of his health". However, in December, his 17-year-old wife, Harriet, died in Sydney.
He was back in Sydney, recovered, in December 1839. In June 1849, at the second exhibition held by the Society for Promoting the Fine Arts in Australia, one of the pictures on show was his portrait of the violinist Joseph Gautrot.
His Gautrot portrait is not known to survive. However, that of another musician does, that of Joshua Frey Josephson:
http://archival.sl.nsw.gov.au/Details/archive/110327367

Documentation:
"POLICE. QUEEN-SQUARE", Morning Chronicle [London] (19 February 1829), 3
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000082/18290219/019/0003 (PAYWALL)
A young foreigner, dressed in the most fashionable style, who said his name was CHARLES RODIUS, of 80, Charlotte-street, Portland-place, and who described himself as an artist and teacher of languages, was charged with robbing Lady Laura Meyrick, lady of Colonel Meyrick, of Berkeley-square, of a reticule, containing sundry articles, as she was leaving the King's Theatre, on the previous evening. When Lady Meyrick was quitting the Opera House, with the Colonel, about 12 o'clock, she discovered that she had lost her reticule, and, having suspected the prisoner, who had been following her, the assistance of Handley, an officer, was obtained, and the prisoner was secured, while he was endeavouring to rob another lady. On his person were found the contents of Lady Meyrick's reticule, and he had a penknife in his hand. A ring, a bracelet, and a purse, containing a half-sovereign and six shillings, were also found in his pocket. At his residence several ladies' handkerchiefs, opera-glasses, pieces of purses, and the clasps of reticules, and a purse, containing four sovereigns, were found. The prisoner protested he was innocent, and said the handkerchiefs, &c. had been given him by ladies who had been his pupils. He was committed for trial.
"QUEEN-SQUARE - ROBBERY AT DRURY-LANE THEATRE", Morning Post [London] (2 March 1829), 4
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000174/18290302/031/0004 (PAYWALL)
Charles Rodius, who stands committed for robbing Lady Laura Meyrick of her reticule, as she came out of the King's Theatre, was brought up from Tothill-fields prison, and placed at the bar before G. W. Marriott, Esq., charged with robbing Mrs. Heatley, of Hertford-street, May-fair, of her reticule, as she was coming out of Drury-lane Theatre. Mr. Heatley stated that his wife was so ill that she could not attend, but he could swear to an opera glass and smelling bottle, which were produced by Handley, the officer, who found them at the prisoner's lodgings . . .
"MULTUM IN PARVO", Cambridge Chronicle and Journal [England] (10 April 1829), 1
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000420/18290410/001/0001 (PAYWALL)
Charles Rodius, a German, was sentenced Saturday at Westminster Sessions to seven years' transportation for stealing from Lady Meyrick a reticule containing various articles . . .
[News], Public Ledger and Daily Advertiser [London] (21 August 1829), 3
https://www.britishnewspaperarchive.co.uk/viewer/bl/0001255/18290821/011/0003 (PAYWALL)
On Saturday, 200 male convicts were embarked on-board the Sarah transport, Captain Columbine, for New South Wales (100 from the York, and the same number from the Leviathan, convict bulks in Portsmouth harbour), under the charge and superintendence of Mr. Alexander Osborne, surgeon. Among the number, was Charles Rodius, a foreigner, and teacher of languages, who, it will be remembered, was convicted of stealing a lady's reticule at the Opera.
New South Wales (1829-60):
"Domestic Intelligence", The Sydney Monitor (6 March 1830), 2
http://nla.gov.au/nla.news-article32073313
Mr. C. Rhodius uses the lithographic Press with great skill. He has executed front and profile likenesses of Bungaree, in a most superior style.
ASSOCIATIONS: Bungaree (Aboriginal elder)
[Advertisement], The Sydney Herald (25 August 1836), 3
http://nla.gov.au/nla.news-article12855020
. . . MRS. CHESTER RESPECTFULLY announces to her Friends, and the public generally, that her CONCERT OF Vocal and Instrumental Music Will take place on WEDNESDAY EVENING, August, 31st, 1836, in the Saloon of the Royal Hotel, on which occasion she will be assisted by MR. W. WALLACE, MR. DEANE AND TWO SONS, MR. JOSEPHSON, MR. CAVENDISH, AND MISS DEANE. ALSO, A Gentleman Amateur has kindly consented to sing a German Song and in an Italian Duett . . . Programme Concert. PART I . . . Duett - "La Ci darem la mano," - MOZART - MRS. CHESTER and AMATEUR . . .
[News], The Australian (2 September 1836), 2-3
http://nla.gov.au/nla.news-article36855247
Mrs. Chester's Concert took place on Wednesday evening last [31 August], and we were sorry to see the room rather thinly attended . . . We have so often expressed our admiration of Mr. Wallace's performance on the violin, that [3] it is needless for us to do so now. There was an amateur sung a German song, in which he displayed a most pleasing voice and a great knowledge of music . . .
"Mrs. Chester's Concert", The Sydney Monitor (3 September 1836), 3
http://nla.gov.au/nla.news-article32152108
. . . We cannot speak in too favorable terms of the taste with which the German song was executed by an amateur. His voice is manly, and at the same time very mellow, and he modulated well. This was loudly encored . . .
ASSOCIATIONS: Marian Maria Chester (vocalist)
[Advertisement], The Sydney Monitor (14 September 1836), 1
http://nla.gov.au/nla.news-article32152195
. . . MR. W. WALLACE . . . BEGS to announce that his Concert of Vocal and Instrumental Music will take place on THIS EVENING, September 14, 1836, in the Saloon of the ROYAL HOTEL, on which occasion he will be assisted by Mrs. Chester, Miss Deane, Miss E. Wallace, Mr. Josephson, Mr. S. W. Wallace, Mr. Cavendish, and the Amateur who was received so favourably at Mrs. Chester's Concert. Programme Concert. PART I . . . 5. French Song - BOILDEAU [sic, Boieldieu] - AMATEUR . . . PART II . . . 2. Trio and Chorus - Viva Enrico - PUCITTA - MRS. CHESTER, MISS WALLACE, AMATEUR and Chorus . . . 6. Duet - La ci darem la mano (by desire) - MOZART - MRS. CHESTER & AMATEUR . . .
"THE CONCERT", The Australian (16 September 1836), 2
http://nla.gov.au/nla.news-article36858596
. . . The Amateur, Mr. Rhodius, was an object of some attraction, in consequence of his performance upon a recent occasion. He sung a pleasing little French song, by Boildeau, in a very plaintive style, without any attempt at display, either of compass of voice or power of execution, and was rapturously encored. He possesses neither of the latter great requisites, but the absence of these qualifications is well supplied by an uncommon sweetness of voice and flexibility of intonation . . . Mrs. Chester we never heard sing better . . . The duet of La ci darem she sung with Mr. Rhodius very sweetly . . .
"MR. WALLACE'S CONCERT", The Sydney Gazette and New South Wales Advertiser (17 September 1836), 2
http://nla.gov.au/nla.news-article2206672
. . . The principal novelty was Mr. Rhodius, who sang sweetly, a French song. This gentleman's voice is weak, but particularly soft and pleasing, but without pretensions to compass or execution, he was scarcely heard in the Trio and chorus Viva Enrico, but this may be accounted for by Mrs. Chester and Miss Wallace's voices being both very powerful . . .
ASSOCIATIONS: William Vincent Wallace (violinist, pianist); Eliza Wallace (soprano vocalist)
"THE ORATORIO", The Australian (23 September 1836), 2
http://nla.gov.au/nla.news-article36854491
. . . He was despised and rejected of men was sung with great sweetness by Mr. Rhodius. His cadences were soft and sweet, and quite delightful. He possesses more power than he displayed: and were he to sing more boldly he would sing more successfully. In the duet of Graceful consort by thy side, with Mrs. Chester, he evinced the correctness of his taste and judgment; but here, as in his other songs, an apparent timidity had the influence of inducing him to suppress rather than to put forth the fulness of his very fine voice . . .
"ORATORIO", Commercial Journal and Advertiser (24 September 1836), 2
http://nla.gov.au/nla.news-article226458595
. . . The manner in which Mr. Rhodius sung "He was despised," with his usual sweet and tasteful style and baratone voice, made a great impression, and left no regret that in this part other music had been substituted for Handel's [sic] . . .
"THE ORATORIO", The Sydney Gazette and New South Wales Advertiser (24 September 1836), 2
http://nla.gov.au/nla.news-article2206796
. . . Mr. Rhodius, we are glad to see, is appearing oftener in public; he has a particularly sweet voice, but wants nerve. His duet of Graceful consort by thy side, was the happiest of his efforts, and he sang it with much taste and judgment. This gentleman has no male competitor in the Colony. Mr. Gordonovitch sang Of Stars the fairest in good tone, but he does not come up to Mr. Rhodius . . .
ASSOCIATIONS: George Gordonovitch (vocalist)
"The Oratorio", The Sydney Monitor (24 September 1836), 2
http://nla.gov.au/nla.news-article32152283
. . . Messrs. Rhodius and Gordonovitch sang well; but there is a delicacy of intonation in Mr. R.'s voice which is universally admired . . .
"THE ORATORIO", The Sydney Herald (26 September 1836), 2
http://nla.gov.au/nla.news-article12864654
. . . Mr. Rhodius stands pre-eminent amongst his brethren in the profession, and sung with much expression "He was despised," and also in a Duet with Mrs. Chester. If Mr. R. will but throw off a little timidity he would appear to much greater advantage . . .
"THE ORATORIO", The Colonist (29 September 1836), 2
http://nla.gov.au/nla.news-article31718544
WE insert the following critique on the performances at the Oratorio in the Roman Catholic chapel, from the pen of a talented correspondent: . . .
. . . Mrs. M. Yes: I think you are perfectly right. What have you to say with respect to the amateurs Messrs. Rhodius and Gordonovitch?
Mr. T. I much admire Mr. R.'s style of singing, he does sing feelingly, but he sadly wants power; I think, by exerting himself, he might in a great measure obviate this difficulty. Mr. G. sang "Of stars the first pledge of day," with a great deal of taste and an evident knowledge of music; but, I prefer Mr. R.'s style of singing, as expressive of much more feeling and study of nature . . .
[Advertisement], The Sydney Gazette and New South Wales Advertiser (6 December 1836), 1
http://nla.gov.au/nla.news-article2208149
. . . Mr. W. Wallace BEGS to ANNOUNCE that his CONCERT . . .  WILL TAKE PLACE ON WEDNESDAY EVENING, 7th DEC, 1836, AT MR. NASH'S HOTEL. On this Occasion be will be assisted by Miss E. Wallace, Mrs. W. Wallace, Mr. S. W. Wallace, and the Gentlemen amateur who was so favourably received at Mr. Wallace's last Concert in Sydney. PROGRAMME CONCERT . . . 4. La Sentinelle - French Air - Amateur . . .  7. Duet - O Pescator del Onda - Mozart - Miss E. Wallace & Amateur . . . PART SECOND . . . 12. Quel Plaisir de Soldat - Boildieu - Amateur . . . 14. Duet - La ci darem la Mano - Mozart - Miss E. Wallace & Amateur . . .
[Advertisement], The Australian (3 January 1837), 1
http://nla.gov.au/nla.news-article36855950
. . . MR. W. WALLACE . . . HIS CONCERT . . . Will take place on WEDNESDAY, January 4th, 1837, IN THE COURT HOUSE, WINDSOR . . . PROGRAMME CONCERT. PART I . . . 4. FRENCH AIR - La Sentinelle - Boildieu [sic] - AMATEUR . . .  7. VOCAL DUET - O Pescator dell'Onda - Mozart - MISS E. WALLACE and AMATEUR . . . PART II . . . 2. IRISH MELODY - Believe me if all those endearing young charms - AMATEUR . . . 14. VOCAL DUET - La ci Darem la Mano - Mozart - MISS E. WALLACE and AMATEUR . . .
MUSIC: La sentinelle (A. Choron)
ASSOCIATIONS: The "amateur" on both occasions above was, again, Rodius
[Advertisement], The Sydney Gazette and New South Wales Advertiser (31 January 1837), 3
http://nla.gov.au/nla.news-article2209118
CONCERT. Postponed to the 1st Proximo. MR. W. WALLACE & MR. J. P. DEANE . . . in the Saloon of the Royal Hotel . . . PROGRAMME CONCERT. PART I . . . 5. SONG - Portrait Charmant - French Melody - Amateur . . . PART II . . . 10. GLEE - Viva Enrico . . . 11. Duet - O Pescator dell'Onda - Mozart - Miss E. Wallace and Amateur . . .
MUSIC: Portrait charmant (French)
[News], The Colonist (2 February 1837), 2
http://nla.gov.au/nla.news-article31719000
The Concert given by Messrs. Wallace and Dean last night, was numerously and respectably attended . . . Mr. Rhodius distinguished himself as usual by the sweetness of his voice and purity of style . . .
"Concert", The Sydney Monitor (3 February 1837), 3
http://nla.gov.au/nla.news-article32154755
. . . An amateur was greatly admired in the French melody Portrait Charmant and encored . . . O Pescator dell'Onda was very sweetly sung by Miss E. Wallace and an Amateur . . .
"CONCERT", The Australian (7 February 1837), 2
http://nla.gov.au/nla.news-article36856309
. . . Portrait Charmant was beautifully sung by the gentleman amateur, who has lately made his debut at our Sydney concerts . . . O Pescator dell'Onda was sung as a duett by Miss E. Wallace and the Amateur, in a manner both tasteful and harmonious . . .
[Advertisement], The Sydney Monitor (29 September 1837), 1
http://nla.gov.au/nla.news-article32157519
. . . MR. WILLIAM WALLACE . . . HIS CONCERT . . . On Friday Evening Sept. 29, 1837, IN THE THEATRE ROYAL,  On which occasion he will be assisted by . . . the Amateur, who so kindly assisted at Mr. Wallace's previous Concert. PROGRAMME CONCERT. PART I . . . 4 - Song from the Opera of Preciosa - WEBER - Amateur . . . PART II . . . 12 - Song - From the Opera, of La Dame Blanche - BOILDIEU - Amateur . . .
"Mr. Wallace's Concert", The Sydney Monitor (2 October 1837), 2
http://nla.gov.au/nla.news-article32157526
. . . Mr. Rhodius sang well, the want of volume being compensated by the sweetness of his tones . . .
[Advertisement], The Sydney Herald (2 July 1838), 3
http://nla.gov.au/nla.news-article12860885
TO BE SOLD BY AUCTION, BY W. HEBBLEWHITE, On THURSDAY next, the 5th July, at eleven o'clock precisely,  at the residence of Mr. Rhodius, Elizabeth-street, three doors from Liverpool-street, THE whole of that Gentleman's Household Furniture, Works of Art, &c. . . . The above will be positively sold in consequence of Mr. Rhodius leaving Sydney for the benefit of his health.
"Death", The Sydney Herald (17 December 1838), 3
http://nla.gov.au/nla.news-article12856294
On Friday last, at her residence, Elizabeth-street, Harriett, the wife of Mr. Charles Rhodius, aged seventeen years.
[Advertisement], The Colonist (7 December 1839), 3
http://nla.gov.au/nla.news-article31724157
MR. C. RODIUS, WHO for some time past has suffered under a paralytic attack, begs to notify, that being now recovered, he intends to renew his occupation as Teacher of Drawing and Perspective, in which capacity he has been engaged in this colony for the last nine years. December 7, 1839.
"MARRIED", The Sydney Herald (2 April 1841), 2
http://nla.gov.au/nla.news-article28652018
Yesterday, by Special License, at St. Phillip's Church, by the Rev. W. Cowper, Mr. Charles Rhodius, to Miss Elizabeth Harriet Allen, both of Sydney.
"CERTIFICATES OF FREEDOM", The Australian (17 March 1842), 3
http://nla.gov.au/nla.news-article36851021
Principal Superintendent of Convicts' Office, Sydney, 10th March, 1842. Certificates of Freedom have been prepared in favour of the undermentioned persons: . . .  Rodius Charles, Sarah . . .
"SOCIETY FOR PROMOTING THE FINE ARTS IN AUSTRALIA. SECOND EXHIBITION", The Sydney Morning Herald (2 June 1849), 3
http://nla.gov.au/nla.news-article12910294
. . . No. 171. - Portrait of Monsieur Gautrot. Rodius. - Property of Mr. Rodius. - A free, light, loose sketch, full of artistical talent, and a very striking likeness . . .
ASSOCIATIONS: Joseph Gautrot (musician, violinist)
"DEATHS", The Sydney Morning Herald (10 April 1860), 1
http://nla.gov.au/nla.news-article13038986
On the 7th of April, aged 56 years, after a long and lingering illness, at his late residence, Mr. Charles Rodius, artist, for many years a resident in this colony.
Roger Therry, Reminiscences of thirty years' residence in New South Wales and Victoria . . . (London: S. Low, Son, and Co., 1863), 110-11
https://books.google.com.au/books?id=RikXAAAAYAAJ&pg=PA110
A German artist, whose name I withhold, as he lived creditably and married respectably in the colony, served his sentence in the country, and on coming to Sydney enjoyed the general reputation of being an emigrant. He arrived, though in a different ship, on the day of my own arrival in 1829. Both ships had also sailed from England on the same day, about three months and a half previously. I happened to be present at his trial at the Middlesex Sessions, where he had a good chance of a favourable verdict, until he put an injudicious question to the principal witness. The charge against him was for snatching a reticule from Lady Laura Meyrick's hand, on her coming out of the Opera-house. In the reticule was a small scent-bottle, which the witness said she believed was her property. The evidence as to the identity of the stolen bottle, however, was weak, until, unfortunately for himself, the prisoner put a question, inquiring the grounds of her ladyship's belief. The [111] reply was, "Because, as you may see, my husband's crest and the initials of my name are engraved upon the stopper of the bottle." The adage that "when a man is his own counsel he has a fool for a client," could not be more completely illustrated. He was immediately found guilty, and sentenced to transportation for seven years. This person had taught drawing in several high families in England. He cultivated his art in the Colony with some success.
ASSOCIATIONS: Roger Therry (lawyer, judge)

Bibliography and resources:
Jocelyn Gray, Rodius, "Charles (1802-1860)", Australian dictionary of biography 2 (1967)
http://adb.anu.edu.au/biography/rodius-charles-2599
"Charles Rodius", Design & Art Australia Online (DAAO)
http://www.daao.org.au/bio/charles-rodius

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Rowe George Curtis Fawcett see also George Fawcettview full entry

Reference: see Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
ROWE, George Curtis Fawcett (George Curtis Fawcett ROWE) = George FAWCETT
Actor, vocalist, entertainer, artist
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Toming A scenic artistview full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online: In entry on William Sayer

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

SAYERS, John Nutt printerview full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Wyatt William artist lithographerview full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online: In entry on Henry Edward Smith.
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Smith Henry Edward lithographerview full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online: SMITH, Henry Edward (Henry Edward SMITH; H. E. SMITH)
Songwriter, inspector of schools, amateur lithographer
Born Northumberland, England, 1826; baptised Bamburgh, 2 May 1826; son of Grieve SMITH (d. 1828) and Eleanor CULLEY (d. 1850) Arrived Adelaide, SA, by October 1853 Died Adelaide, SA, 11 July 1860, aged 34
https://trove.nla.gov.au/search?l-publictag=Henry+Edward+Smith+1826-1860 (TROVE tagged by Australharmony)
https://sydney.edu.au/paradisec/australharmony/register-S-3.php#SMITH-Henry-Edward (shareable link to this entry)

Documentation:
England census, 30 March 1851, Charing Cross, St. Martin in the Fields, Middlesex; HO107/1481/189/1
https://www.ancestry.com.au/imageviewer/collections/8860/images/MDXHO107_1481_1481-0388 (PAYWALL)
10 [Northumberland] Court / Wm. John Robinson / Head / Mar. / 46 / Artificial Limb Maker . . . [and family] Henry E. Smith / Lodger / Unm. / 25 / Gov't Civil Service Census Office / [born] Northumberland Bamburgh
"THE GOVERNMENT GAZETTE", South Australian Register (28 October 1853), 2
http://nla.gov.au/nla.news-article48549403
. . . Mr. H. E. Smith to be Clerk in the Audit Office, vice Haining, promoted . . .
"THE VOLUNTEERS' SONG", South Australian Register (4 November 1859), 3
http://nla.gov.au/nla.news-article49828132
The following song, composed by Mr. Smith, Inspector of Schools, and set to music by Signor Cutolo, has been handed to us for publication by the latter gentleman. It will be seen that it is to be sung at the concert to be given by Signor Cutolo on the 8th inst.: -
Sons of the South, shall foeman's hand Rend from us this fair heritage? Shall Frank or Russian hold this land In southern history's unwrit page? No, God forbid! No, heaven forfend! Better win blood-red glorious biers, Than meanly live - gain coward's end. Up laggards, join our Volunteers! . . .
[Chorus] Australia's sons, arise! awake! Be men, dismiss all craven fears; For country, home, for altar's sake, Enrol amongst our Volunteers . . . [5 more verses and 1 supplementary verse]
ASSOCIATIONS: Cesare Cutolo (pianist, composer)
"SIGNOR CUTOLO'S CONCERT", Adelaide Observer (5 November 1859), 1 Supplement
http://nla.gov.au/nla.news-article158130504
. . . The concert is in some degree complimentary to the Volunteers of South Australia, his sympathy with whose patriotic movement the Signor has evinced by setting to music an appropriate song written by Mr. H. E. Smith. The words appear in another column, and we have heard the music, which is of a stirring military character. The Signor mentioned to us that he had communicated with the commanding officers of most of the Volunteer corps on the subject, including Major Freeling, Captains Younghusband, Finniss, Torrene, Blyth, Bagot, Mayo, Hardy, and R. B. Smith. It is probable, therefore, that the attendance of oar gallant artillery and riflemen will be very large. The effect of Mr. Smith's song will be increased by the assistance of several amateurs, who have volunteered their services in the chorus . . .
"SONG OF THE VOLUNTEERS", South Australian Register (8 November 1859), 2
http://nla.gov.au/nla.news-article49826678
This song, to be sung at Signor Cutolo's Concert to-night, having by accident been published in our columns in a rough and an incorrect form, we feel bound, in justice to the author, to reproduce it as corrected by him: -
Sons of the South, shall foeman's hand . . .
[Chorus] Australia's sons, arise! awake! . . . Enrol amongst our Volunteers . . . [7 more verses and 1 supplementary verse]
"SIGNOR CUTOLO'S CONCERT", Adelaide Observer (12 November 1859), 3
http://nla.gov.au/nla.news-article158130630
. . . The entertainment was concluded with "The Song of the Volunteers," written by Mr. Smith, Inspector of Schools, and composed by Signor Cutolo. Miss Rowe presided at the piano; the air was song alternately to the several verses by the Signor, Miss Bryan, Mr. Daniel, and Mrs. Peryman. In the chorus the whole strength of the company united, including several gentlemen who had kindly "volunteered" their services. The song is remarkable for its fire and spirit, and drew down a complete furor of applause. The last verse was repeated in full chorus . . .
ASSOCIATIONS: Jane Bryan (vocalist); Josiah Wyke Daniel (vocalist); Caroline Peryman (vocalist)
"SOUTH AUSTRALIA (FROM OUR OWN CORRESPONDENT) Adelaide, November 26", The Argus [Melbourne, VIC] (30 November 1859), 3
http://nla.gov.au/nla.news-article5692716
. . . I am afraid, if you judge of our riflemen's ardour by their song, you will have a poor opinion of our volunteers. The song of the volunteers is some degrees worse than the song of Australia, Signor Cutolo, however, set it to good music; and Miss Bryan, our most promising Adelaide singer, assisted by other better known vocalists, gave it every justice . . .
"SONG OF THE VOLUNTEERS", South Australian Register (7 January 1860), 2
http://nla.gov.au/nla.news-article49895258
We have been favoured with a proof of the above song, the words, as will be remembered being, by Mr. H. E. Smith, and the music by Signor Cutolo. The song was first sung at one of the Signor's concerts in Adelaide, and the bold and martial character of the strain was greatly admired and applauded. In its praise, as an addition to the songs produced within the colony of South Australia, we need say nothing more than has been said already; but of the style in which the song is got up it would be wrong to be silent, since there is so much to approve in the clearness of the type, the general correct ness of the lithography, and more particularly in the frontispiece which illustrates the theme. We are informed that the frontispiece was designed by Mr. W. Wyatt, son of Dr. Wyatt, and that it was also drawn by him on stone. It represents a spot upon the coast off which two men-of-war are engaged in landing an invading force. Behind two huge gum trunks and a broken limb that has fallen from one of them are ensconced five of our gallant volunteers, one in the act of loading, and the others aiming and firing at the advancing party. The position and attitude of the riflemen are well managed, as is also the distance of the invading ships and forces; while a grass-tree in tie foreground of the drawing gives a distinct South Australian cast to the whole. We can readily imagine that the frontispiece might tempt many to purchase the song apart from the intrinsic excellence of the words and the music.
ASSOCIATIONS: William Wyatt (artist, lithographer), son of William Wyatt (musical amateur)
"COLONIAL MUSIC", The South Australian Advertiser (11 January 1860), 3
http://nla.gov.au/nla.news-article1201025
We were some days since favored with a copy of the Volunteers' Song - words by Mr. Smith, music by Signor Cutolo. Our readers are all familiar with this song, as the words have been published in the local papers, and Signor Cutolo's music has elicited the applause of admiring audiences at White's Rooms. It may now be had of the booksellers and others for a small sum. The engraving is well executed, and the frontispiece consists of a smart lithograph by Mr. Wyatt, jun., representing the gallant volunteers - not exactly winning "glorious blood-red biers," but furnishing the same to a number of invaders whom they are picking off most satisfactorily at long range.
[Advertisement], South Australian Register (13 January 1860), 1
http://nla.gov.au/nla.news-article49895757
SONG OF THE VOLUNTEERS, Composed by Signor Cutolo; Words by H. E. Smith, Esq. Just published. To be had from all Booksellers.
"DEATHS", South Australian Register (16 July 1860), 2
http://nla.gov.au/nla.news-article50023673
SMITH. - On the 14th July, Henry Edward Smith, Esq., Second Inspector of Schools, aged 34.
"THE LATE MR. SMITH", The South Australian Advertiser (16 July 1860), 2
http://nla.gov.au/nla.news-article821557
In our obituary notices the death of Mr. H. E. Smith, late Second Inspector of Schools, will be observed. His complaint was congestion of the brain, and during his illness received the professional aid of Drs. Bayer and Woodforde. We understand that Mr. Smith had been for about two months previously in a delicate state of health, and about a fortnight ago was obliged to be removed to town from Wellington. Mr. Smith held his office of Inspector of Schools for a considerable period, during which he rendered himself very popular in the discharge of his rather difficult duties. His gentlemanly and urbane demeanour, and his amiable disposition, acquired him a great number of friends, who deeply regret the severe calamity which has taken him away. Mr. Smith was a man of a refined and elegant mind, well versed in literature, and possessed as well all the graceful qualities of companionship likely to endear him to a large circle of friends. A great gap will be caused by his lamented death, which has cut him off in the midst of his days at the comparatively early age of 34. We understand that his funeral will take place to-day at 2 o'clock, from his residence in Flinders-street.
"HISTORY IN MUSIC. Australia's Song-writers (L.L.W.)", The Sydney Morning Herald (19 January 1929), 13
http://nla.gov.au/nla.news-article16524956
Under a heavy coating of dust in an obscure division of the Mitchell Library there lie neatly-tied bundles of music, arranged alphabetically according to the composers' names . . . Throughout the bundles are scattered literally hundreds of war-songs. The earliest of these appeared in 1863 [sic], when a scare seems to have been raised among the inhabitants that the Russians were about to invade this Island. "The Song of the Volunteers," music by Signor Cutolo, words by H. E. Smith, is a stirring bit of work, which musically asks the question "Shall Frank or Russian hold this land?" Each verse ends with the exciting command, "Up, laggards, join our volunteers." The lithographed cover is a masterpiece of salesmanship. In the foreground four volunteers are taking cover behind two giant gum-trees. Another volunteer lies behind a log. All are firing desperately at a horde of invaders who have just landed, in the background, on what looks like the shores of Botany Bay . . .

Musical works:
Song of the volunteers, composed by Sig. Cutolo, words by H. E. Smith ([Adelaide: s.n., 1859])
https://trove.nla.gov.au/work/156931383
Copy at the State Library of New South Wales
https://collection.sl.nsw.gov.au/record/74VM5QzJyZ3l
Photocopy of the above at the National Library of Australia
https://nla.gov.au/nla.obj-179494084 (DIGITISED)

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Staff Eliza Sophia view full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online: STAFF, Eliza Sophia (Eliza Sophia STAFF)
Musician, organist, school teacher, artist
Born Parramatta, NSW, 16 January 1831; baptised St. John's, Parramatta, 9 February 1831; daughter of John Foreman STAFF (1802-1876) and Mary SANDLE (c. 1804-1886) Died Parramatta, NSW, 10 May 1854, in her 23rd year
https://trove.nla.gov.au/search?l-publictag=Eliza+Sophia+Staff+1831-1854 (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-1485742 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-S-4.php#STAFF-Eliza-Sophia (shareable link to this entry)

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

STORR Madame de view full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online: STORR, Madame de (Madame de STORR; Madame Arthur de STORR)
Musician, harpist, painter, artist
Active Melbourne, VIC, by April 1853; Sydney, NSW, by June 1853; Launceston, TAS, by March 1854 Departed Launceston, TAS, 30 May 1854 (per John King, for Mauritius)
https://trove.nla.gov.au/search?l-publictag=Madame+de+Storr (TROVE tagged by Australharmony)
https://sydney.edu.au/paradisec/australharmony/register-S-4.php#STORR-Madame-de (shareable link to this entry)

Summary:
Artist and musician, Madame de Storr and her husband Arthur, "a professor of French language" but principally apparently a merchant trader, had lived at various places in the Pacific basin - including Penang, India, Singapore, Brazil, and Chile - for over a decade before they arrived in Melbourne early in 1853.
If, as she claimed, she was a pupil of the painter Jacques-Louis David and the harpist Nicholas Charles Bochsa, and had herself served as harpist to Marie-Caroline, the duchesse de Berry, she was presumably born not much later than the middle of the first decade of the century, and thus close of 50 during the short time she spent in Australia.

Documentation:
[Advertisement], The Singapore free press and mercantile advertiser (5 January 1843), 1
https://archive.org/stream/singaporefreepre00sing#page/n3/mode/2up (DIGITISED)
PORTRAITS. MADAME DE STORR, a pupil of the celebrated David of Paris, has the honor to inform the Ladies and Gentlemen of Singapore, that she takes Likenesses in Oil of every size, and on the most moderate terms; she also takes Portraits in Crayons (au pastel) in two sittings, at Drs. 15 for each Likeness, of which, as of the former, she guarantees the most perfect resemblance. Madame De Storr resides at the London Hotel, and her stay at Singapore will not be protracted beyond the occasion of the Musical Soiree, which she proposes to give, and for which she will shortly issue a Subscription Circular. Singapore, 26th Decr. 1842.
ASSOCIATIONS: Jacques-Louis David (painter, d. Brussels, 1825)
[Advertisement], The Singapore free press and mercantile advertiser (19 January 1843), 3
https://archive.org/stream/singaporefreepre00sing#page/n15/mode/2up (DIGITISED)
Madame DE STORR'S Concert came off last night and was attended by the elite of Singapore Society. The music was chiefly selected from the Operas of Rossini and Bellini, and the performance of Madame De Storr upon the Harp, which instrument she plays in a way peculiar to herself, delighted the audience, especially the Chinese. The Evening's entertainment ended with a raffle. The prize a splendid painting of Roustan, the Emperor Napoleon's favorite Mameluke, was obtained by a young man who seemed highly pleased with his good future.
"BENGAL. SHIPPING", Allen's Indian Mail, and Register of Intelligence (25 February 1845), 87-88
https://books.google.com.au/books?id=YBwYAAAAYAAJ&pg=PA87 (DIGITISED)
PASSENGERS ARRIVED . . . [2 January ? 1844] Per Royal Sovereign, from Penang. - Madame De Storr.
[Report of proceedings] Journal of Asiatic Society of Bengal (March 1845), xxxiv-v
https://archive.org/stream/journalofasiatic141asia#page/n59/mode/2up (DIGITISED)
Read the following letter to the Society:-
Monsieur Torrens, Secretaire de la Societt Asiatique a Calcutta. Monsieur, - Madame de Storr a l'intention de publier, a la fin de chaque mois une livraison de quatre costumes litographies and colories, des different peuples que l'on rencontre a Calcutta; Je desire beaucoup, en regard de chaque costume, faire paraitre une notice indicative des moeurs et habitudes de celui qui le porte. Mais etant depuis trop peu de terns dans le pays, je n'ai pas acquis assez de connaissances pour decrire avec verite des coutumes dont je n'ai entendu parler que vaguement . . . Votre tres humble et obeissant Serviteur, A. B. de Storr. Calcutta, 21st Feb. 1845.
The Secretary stated that he had allowed M. De Storr to have from the library one volume at a time of each of the works applied for, as he deemed it incumbent on the Society to give every aid in its power to works of the kind proposed.
"CHINA &c. SHIPPING"", Allen's Indian Mail, and Register of Intelligence (17 December 1851),
https://books.google.com.au/books?id=4BgYAAAAYAAJ&pg=PA743 (DIGITISED)
PASSENGERS ARRIVED . . . Per Philomena - Capt. and Mrs. Fales and child, Miss Murphy, M. and Madame de Storr.
[Advertisement], The Argus [Melbourne, VIC] (19 April 1853), 12
http://nla.gov.au/nla.news-article4791795
FOR SALE. REAL Cashmere shawls from India, long and square, superior quality, from £40 to £400. Pocket handkerchiefs from Manila, in pineapple trade, embroidered, from £2 to £10. Japan lacquered boxes, red and black. Ivory chessmen of extraordinary dimensions. A piece of ground wanted, with a frontage of 20 to 45 feet. Apply to Mr. de Storr, at Misses Burney's school, Flinders-lane, east, between Mr. Kerr's residence, and Mr. Ramsay's chapel.
[Advertisement], The Sydney Morning Herald (1 June 1853), 1
http://nla.gov.au/nla.news-article12946337
MADAM DE STORR, from Paris, Harpist, pupil of Bochsa, begs to announce to the nobility, gentry, and dilettanti of Sydney, that she has arrived in this city, after having made a successful tour through India and South America, in which countries she has been specially honoured by the distinguished patronage of his Majesty the Emperor of Brasil, his Excellency the Governor-General of India, the King of Lahore, the Great Mogul, Lord Gough, &c. Madame de Storr is making arrangements for a grand Concert, which she intends to give at the Royal Victoria Theatre, on which occasion she will secure the aid of all the available musical talent of Sydney. Further particulars will be made public in a few days. 70, Hunter-street.
ASSOCIATIONS: Nicholas Charles Bochsa (harpist)
[Advertisement], Empire (2 June 1853), 1
http://nla.gov.au/nla.news-article61324764
IN THE SUPREME COURT OF NEW SOUTH WALES. Between Arthur de Storr, Plaintiff, and James Frederick Bennett, Defendant . . . to recover damages for breach of contract in the non delivery in good order and condition at Sydney of certain goods and chattels of the Plaintiff, which damages are sworn to amount to the sum of £1000 and upwards . . .
[Advertisement], Empire (21 June 1853), 1
http://nla.gov.au/nla.news-article61325364
ROYAL VICTORIA THEATRE. THIS EVENING, TUESDAY, the 21st of June, 1853. GRAND EVENING CONCERT. Under the distinguished patronage of his Excellency, the Governor-General. By the kind permission of Colonel Bloomfield and the Officers, the splendid Band of H. M. 11th Regiment will be in attendance. MADAME DE STORR Harpist to H. R. Highness the Duchess de Berry, begs to inform the inhabitants of Sydney and its vicinity that she gives a Grand Vocal and Instrumental Concert on the above evening, when she respectfully solicits their patronage. Madame de Storr will be assisted by the following Artistes: -  Madame Sara Flower, Madame Carandini, Miss Flora Harris, Mr. F. Howson, Mr. J. Howson, Mr. Coleman Jacobs (Pianist to H. R. Highness the Duchess of Gloucester), his fourth appearance in Sydney, Signor Caranzani (first violin to his Majesty the King of Sardinia), Mr. Evans Sloper (saxe-horn), Monsr. Longchamp (flutist), who has kindly offered his gratuitous services. Conductor and Pianist - Mr. STANLEY. PROGRAMME. PART 1ST. Overture - Military band. Madrigal - "Down in a flowery vale," (Festa 1650 [sic]) - Miss Flora Harris, Madame Carandini, Madame Sara Flower, Mr. J. Howson, and Mr. F. Howson. Scena - "She comes in all her loveliness," (Matilda of Hungary) - Mr. F. Howson. Fantasia - Flute - Monsieur Longchamp. Aria - "Batti, Batti, bel Musette," (Il Don Giovanni) - Miss Flora Harris. Ballad - "When I behold those happy scenes," (Sicilian Bride, Balfe) - Mr. J. Howson. Duet - Harp and violin - Aria -"Varie par Bochsa" - Madame de Storr and Signor Caranzani. Scena - "Oh! Roberto," (Robert le Diable) - Madame Sara Flower. Solo - Saxe-horn - Mr. Evans Sloper. Scena - "Vieni t'affretta," (Macbeth) - Madame Carandini. Fantasia - Pianoforte - Thema, "We may be happy yet," (by desire) - Mr. Coleman Jacobs. Duet - "Bright lovely images," (Semiramide) - Madame Sara Flower and Mr. F. Howson. Solo - Harp, "Cavatina, from La donna del Lago," (Labarre) - Madame de Storr. PART 2ND. Overture - Military Band. Duet - "Lascia mi, non t'ascolta," (Rossini) - Madame Carandini and Madame Sara Flower. Song - Mr. J. Howson. Solo - Violin - Signor Caranzani. Ballad - "Child of the Sun," (Bondman) - Miss Flora Harris. Duet - Harp and saxe-horn. - "Morceau par Bochsa" - Madame de Storr and Mr. E. Sloper. Ballad - "On ev'ry tree that blossoms," (German song) - Madame Carandini. Descriptive Song - "The Blind Man's Song," - Mr. F. Howson. Ballad - "Gentle Mother," (Linley) - Madame Sara Flower. Fantasia - Flute - Monsieur Longchamp. Glee - "Ye Spotted Snakes," (Midsummer Night's Dream) - Miss Flora Harris, Madame Carandini, Madame Sara Flower, Mr. J. Howson, and Mr. F. Howson. Finale - "God Save the Queen." Doors open at hall-past seven; Concert to commence at eight precisely. Boxes, £2 2s. each, to be had of Mr. F. Howson, Woolloomooloo; Madame de Storr, 70, Hunter-street; Mr. Torning, Victoria Hotel. Single tickets, 5s. each; Pit Stalls, 3s.; Upper Circle, 3s. each. To be had of the principal stationers and music shops. [Manicule] The Pit Stall seats will be covered, &c., and rendered, in every way, as comfortable and select as the Dress Circle.
ASSOCIATIONS: Marie-Caroline (duchesse de Berry); Sara Flower (vocalist); Maria Carandini (vocalist); Flora Harris (vocalist); Frank Howson (vocalist); John Howson (vocalist); Coleman Jacobs (pianist); Felix Caranzani (violinist); Frederick Evans Sloper (sax-horn player); Jean Francois Lonchamp [sic] (flautist); William Stanley (pianist, accompanist); Band of the 11th Regiment (military); Royal Victoria Theatre (venue)
"MADAME DE STORR'S CONCERT", The People's Advocate and New South Wales Vindicator (25 June 1853), 3
http://nla.gov.au/nla.news-article251544306
Last Tuesday evening this entertainment was given at the Theatre, and we regret to state that instead of proving to be a high musical treat, as was anticipated, it turned out a dull, lame, and spiritless affair. This, we are inclined to believe, arose partly from the unusual length of the performance, and also from the little judgment displayed in selecting the pieces composing it. Indeed, with the exception of the Overtures, performed by the Military Band in anything but a first-rate style, the music for the most part seemed to have been selected by the Performers for their own amusement than for that of the audience: the natural consequences ensued, and it was amusing enough to witness it; long before the close of the Concert, the audience, under the influences of the chilly atmosphere and of the frigid and ineffectual attempts to please them, became "fine by degrees and beautifully less," those who departed without doubt sincerely commiserating those they had left behind. The only parties who earned an encore were Madame Flower and Mr. Sloper Evans: the former, as an old established favorite, deserved the compliment paid to her by the skill and professional science with which she successfully overcame difficulties in a musical piece evidently not calculated to display the best parts of her voice; Mr. Sloper Evans was not less entitled to the warm and friendly reception he met with; at every appearance he seems to progress in public favour; we sincerely hope that he will experience still more substantial appreciation of his merits as an artist at his approaching benefit, which there is every reason to believe will be equally attractive to the admirers of L'Allegro and Il Penseroso, to the lovers of the serious and of the comic.
Of the other portions of this Concert little more need be said excepting that Miss Flora Harris, although evidently labouring under indisposition, sung with the same sweetness, feeling and purity of intonation which have established her here as a favorite of the musical cosnoscenti, and that Madame Carandini executed a Cavatina in that energetic but not highly cultivated style, which has earned her a not unmerited popularity with the less fastidious critics of the pit and gallery. Of the lady for whose benefit the Concert was given, we will only observe that she must have heard such unequivocal proofs of the opinion of a Sydney audience with reference to her capabilities, that we trust for her own sake she will not venture to make a second experiment on their indulgence.
"MADAME DE STORR'S CONCERT", Bell's Life in Sydney and Sporting Reviewer (25 June 1853), 2
http://nla.gov.au/nla.news-article59757337
On Tuesday evening the Victoria Theatre was attended by a most select and fashionable assembly, attracted by the splendid programme issued by the above-named lady, and which included the names of the most popular artistes in the metropolis. The Band of the 11th Regiment attended on the occasion. Of the "stars" of the night it is alone necessary to speak; and but few words will be needed to record our opinion. The lady's proficiency on the harp may have won for her a professional appointment to the Duchess De Berri; but the effect of her performance upon our weak nerves - heightened though it was by spectacles, wig, and pink gingham - was anything but "stunning." We were not electrified, or - as Uncle Sam would express himself - "struck all of a heap." In brief, we "dropped down" - having unfortunately heard a harp played before, in our time. "Signor Caranzani, (1st violin to H. M. the King of Sardines,) though a queer looking fish, acquitted himself most satisfactorily, he is unquestionably master of that most difficult of instruments, and his execution is unusually brilliant. We were decidedly pleased with the Signor. Our fair friends, Mesdames Flower and Carandini, amply atoned for the disappointment generally expressed relative to "de Storr" of the evening; and the brothers Howson most ably seconded the endeavours of the ladies. The tootle-tooing of Mons. Longchamp, inasmuch as it was gratuitous, must not be cavilled at. "Never look a gift horse in the mouth," is an adage as old as the first present on record, viz.-that of Eve's first-born to his father. Mr. Evans Sloper's masterly performance on the Saxe Hore [sic] elicited much and deserved applause. The entertainments were prolonged almost to too late an hour; too much of a thing, however good, is surfeiting.
[Advertisement], The Sydney Morning Herald (29 June 1853), 1
http://nla.gov.au/nla.news-article12946949
WANTED immediately, for a Lady and Gentleman, a bed and sittng room, with or without board, in a respectable family. Apply to A. de STORR, 70, Hunter-street.
[Advertisement], The Sydney Morning Herald (26 July 1853), 1
http://nla.gov.au/nla.news-article12947570
MADAME DE STORR, 58, York-street, Portrait Painter, and Professor of Harp. Mr. DE STORR, Professor in French Language.
[Advertisement], The Sydney Morning Herald (14 December 1853), 7
http://nla.gov.au/nla.news-article30939433
MADAME GAUTROT'S GRAND EVENING CONCERT, at the Royal Hotel, on Wednesday Evening, December 14. Under Distinguished Patronage. - Madame Gautrot begs to inform her friends and the public generally that she purposes giving a Grand Concert on the above evening, when she will be assisted by the services of Miss Flora Harris, Madame De Store [sic], Mons. Strebinger, Mr. Lonchamp, Mr, John Howson, and Mr. Natty, the celebrated violoncelliste, recently arrived from the continent, who will make his first appearance. PROGRAMME. PART I. - Aria, the Lovely Harp, Miss Flora Harris . . .  PART II. - Solo - harp - Partant pour la Syria (composed by the Queen of Holland, mother of Louis Napoleon, variations by Bochsa), Madame De Store . . .
ASSOCIATIONS: Madame Gautrot (vocalist); Frederick Strebinger (violinist); Octave Natthey (cellist)
MUSIC: Martial fantasia on Partant pour la Syrie (Bochsa)
"CLEARANCES", Empire (11 January 1854), 2
http://nla.gov.au/nla.news-article60148177
January 10. - Harbinger, steamer, 593 tons, Captain Lane, for Southampton via Melbourne, in 1 ballast. Passengers . . . for Melbourne . . . Mrs. De Storr . . .
[Advertisement], The Cornwall Chronicle [Launceston, TAS] (18 March 1854), 5
http://nla.gov.au/nla.news-article65714307
MUSICAL SOIREE. MADAME DE STORR, Harpist to H. R. H. the Duchess of Berry, BEGS TO INFORM the ladies and gentlemen of Launceston and its vicinity, that she will give a MUSICAL SOIREE on the 30th instant, at the Cornwall Assembly Rooms, when she will perform several BRILLIANT PIECES ON THE HARP. At the same time, she has endeavored to procure all the available talent of Launceston, to variegate the evening's entertainment. Full particulars in future advertisement.
[Advertisement], Launceston Examiner (6 May 1854), 3
http://nla.gov.au/nla.news-article36288941
VOCAL AND MUSICAL ENTERTAINMENT. TUESDAY, MAY 9, 1854. AT THE CORNWALL ASSEMBLY ROOMS, BY PROFESSOR LEES AND HIS SONS, ASSISTED BY MADAME de STORR, HARPIST, AND Herr Imberg. For programme and full particulars see hand bills. FOR THIS NIGHT ONLY. Admission, 5s. each.
ASSOCIATIONS: Julius Imberg (pianist); John Lees (d. 1855) and "sons" [Hanlon brothers] (gymnasts); see Mark Cosdon, The Hanlon brothers: from daredevil acrobatics to spectacle pantomime, 1833-1931 (Carbondale and Edwardsville: Southern Illinois University Press, 2009), 9-11
https://books.google.com.au/books?id=CFtrWkiS2WMC&pg=PA9 (PREVIEW)
"PORT OF LAUNCESTON", Colonial Times (3 June 1854), 2
http://nla.gov.au/nla.news-article8776201
DEPARTURES. May 30 - . . . Barque John King, S. Ellis, for Mauritius. Passengers - Captain Cruanc, M. De Storr, Madame De Storr, Mr. N. M. Ellis . . .
See also ship manifest:
https://stors.tas.gov.au/POL220-1-3$init=POL220-1-3P295 (DIGITISED)

Bibliography and resources:
Estudos brasileiros (1942), 110
. . . Madame de Storr tambem concorria no magistério artístico: dava liçoes de musica e harpa, de que fôra distinta aluna do célebre Bochsa. Fizera as delícias dos salões de París e Nápoles. Esta senhora foi muito apreciada tambem no Rio de de Janeiro, onde deu um concerto, a que se referiu o Jornal do Commercio de 10 de Agosto de 1840.
W. Arundel Orchard, Music in Australia: more than 150 years of development (Melbourne: Georgian House, 1952), 51
https://archive.org/details/in.ernet.dli.2015.28983/page/n77/mode/2up (DIGITISED)
. . . A harpist, Madame de Storr, and a good singer, St. John Adcock, were active at this period, but more important was the arrival in that year [1853], via Hobart, of Charles S. Packer, pianist, organist and composer . . .
Eugenio Pereira Salas, Estudios sobre la historia del arte en Chile republicano (Santiago: Ediciones de la Universidad de Chile, 1992), 58
. . . Este sistema, precursor de la fotografía, fue conocido en Chile, y aún en 1842 puede leerse en la prensa los avisos de Madame de Storr, que se dice alumna de David, y que en su taller de la calle de Huérfanos ofrece "retratos de perfil hechos con máquinas".
Rosemary Margaret Hallo, Erard, Bochsa and their impact on harp music-making in Australia (1830-1866): an early history from documents (Ph.D thesis, University of Adelaide, 2014), 54, 79, 101-04, 200, 202
http://hdl.handle.net/2440/86482 (DIGITISED)
At 54, Hallo identifies the original purchaser of harp 4886 (finished in February 1835), on 17 March 1835, as Madame de Storr "although the ledger entry was not clear"; however, a clear reading shows that the purchaser was a Miss Steers; see Erard London ledger 3, fol. 68
https://archive.org/details/erard-harp/ErardHarp_3/page/n75/mode/2up (DIGITISED)

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

de Storr Madame view full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online: STORR, Madame de (Madame de STORR; Madame Arthur de STORR)
Musician, harpist, painter, artist
Active Melbourne, VIC, by April 1853; Sydney, NSW, by June 1853; Launceston, TAS, by March 1854 Departed Launceston, TAS, 30 May 1854 (per John King, for Mauritius)
https://trove.nla.gov.au/search?l-publictag=Madame+de+Storr (TROVE tagged by Australharmony)
https://sydney.edu.au/paradisec/australharmony/register-S-4.php#STORR-Madame-de (shareable link to this entry)

Summary:
Artist and musician, Madame de Storr and her husband Arthur, "a professor of French language" but principally apparently a merchant trader, had lived at various places in the Pacific basin - including Penang, India, Singapore, Brazil, and Chile - for over a decade before they arrived in Melbourne early in 1853.
If, as she claimed, she was a pupil of the painter Jacques-Louis David and the harpist Nicholas Charles Bochsa, and had herself served as harpist to Marie-Caroline, the duchesse de Berry, she was presumably born not much later than the middle of the first decade of the century, and thus close of 50 during the short time she spent in Australia.

Documentation:
[Advertisement], The Singapore free press and mercantile advertiser (5 January 1843), 1
https://archive.org/stream/singaporefreepre00sing#page/n3/mode/2up (DIGITISED)
PORTRAITS. MADAME DE STORR, a pupil of the celebrated David of Paris, has the honor to inform the Ladies and Gentlemen of Singapore, that she takes Likenesses in Oil of every size, and on the most moderate terms; she also takes Portraits in Crayons (au pastel) in two sittings, at Drs. 15 for each Likeness, of which, as of the former, she guarantees the most perfect resemblance. Madame De Storr resides at the London Hotel, and her stay at Singapore will not be protracted beyond the occasion of the Musical Soiree, which she proposes to give, and for which she will shortly issue a Subscription Circular. Singapore, 26th Decr. 1842.
ASSOCIATIONS: Jacques-Louis David (painter, d. Brussels, 1825)
[Advertisement], The Singapore free press and mercantile advertiser (19 January 1843), 3
https://archive.org/stream/singaporefreepre00sing#page/n15/mode/2up (DIGITISED)
Madame DE STORR'S Concert came off last night and was attended by the elite of Singapore Society. The music was chiefly selected from the Operas of Rossini and Bellini, and the performance of Madame De Storr upon the Harp, which instrument she plays in a way peculiar to herself, delighted the audience, especially the Chinese. The Evening's entertainment ended with a raffle. The prize a splendid painting of Roustan, the Emperor Napoleon's favorite Mameluke, was obtained by a young man who seemed highly pleased with his good future.
"BENGAL. SHIPPING", Allen's Indian Mail, and Register of Intelligence (25 February 1845), 87-88
https://books.google.com.au/books?id=YBwYAAAAYAAJ&pg=PA87 (DIGITISED)
PASSENGERS ARRIVED . . . [2 January ? 1844] Per Royal Sovereign, from Penang. - Madame De Storr.
[Report of proceedings] Journal of Asiatic Society of Bengal (March 1845), xxxiv-v
https://archive.org/stream/journalofasiatic141asia#page/n59/mode/2up (DIGITISED)
Read the following letter to the Society:-
Monsieur Torrens, Secretaire de la Societt Asiatique a Calcutta. Monsieur, - Madame de Storr a l'intention de publier, a la fin de chaque mois une livraison de quatre costumes litographies and colories, des different peuples que l'on rencontre a Calcutta; Je desire beaucoup, en regard de chaque costume, faire paraitre une notice indicative des moeurs et habitudes de celui qui le porte. Mais etant depuis trop peu de terns dans le pays, je n'ai pas acquis assez de connaissances pour decrire avec verite des coutumes dont je n'ai entendu parler que vaguement . . . Votre tres humble et obeissant Serviteur, A. B. de Storr. Calcutta, 21st Feb. 1845.
The Secretary stated that he had allowed M. De Storr to have from the library one volume at a time of each of the works applied for, as he deemed it incumbent on the Society to give every aid in its power to works of the kind proposed.
"CHINA &c. SHIPPING"", Allen's Indian Mail, and Register of Intelligence (17 December 1851),
https://books.google.com.au/books?id=4BgYAAAAYAAJ&pg=PA743 (DIGITISED)
PASSENGERS ARRIVED . . . Per Philomena - Capt. and Mrs. Fales and child, Miss Murphy, M. and Madame de Storr.
[Advertisement], The Argus [Melbourne, VIC] (19 April 1853), 12
http://nla.gov.au/nla.news-article4791795
FOR SALE. REAL Cashmere shawls from India, long and square, superior quality, from £40 to £400. Pocket handkerchiefs from Manila, in pineapple trade, embroidered, from £2 to £10. Japan lacquered boxes, red and black. Ivory chessmen of extraordinary dimensions. A piece of ground wanted, with a frontage of 20 to 45 feet. Apply to Mr. de Storr, at Misses Burney's school, Flinders-lane, east, between Mr. Kerr's residence, and Mr. Ramsay's chapel.
[Advertisement], The Sydney Morning Herald (1 June 1853), 1
http://nla.gov.au/nla.news-article12946337
MADAM DE STORR, from Paris, Harpist, pupil of Bochsa, begs to announce to the nobility, gentry, and dilettanti of Sydney, that she has arrived in this city, after having made a successful tour through India and South America, in which countries she has been specially honoured by the distinguished patronage of his Majesty the Emperor of Brasil, his Excellency the Governor-General of India, the King of Lahore, the Great Mogul, Lord Gough, &c. Madame de Storr is making arrangements for a grand Concert, which she intends to give at the Royal Victoria Theatre, on which occasion she will secure the aid of all the available musical talent of Sydney. Further particulars will be made public in a few days. 70, Hunter-street.
ASSOCIATIONS: Nicholas Charles Bochsa (harpist)
[Advertisement], Empire (2 June 1853), 1
http://nla.gov.au/nla.news-article61324764
IN THE SUPREME COURT OF NEW SOUTH WALES. Between Arthur de Storr, Plaintiff, and James Frederick Bennett, Defendant . . . to recover damages for breach of contract in the non delivery in good order and condition at Sydney of certain goods and chattels of the Plaintiff, which damages are sworn to amount to the sum of £1000 and upwards . . .
[Advertisement], Empire (21 June 1853), 1
http://nla.gov.au/nla.news-article61325364
ROYAL VICTORIA THEATRE. THIS EVENING, TUESDAY, the 21st of June, 1853. GRAND EVENING CONCERT. Under the distinguished patronage of his Excellency, the Governor-General. By the kind permission of Colonel Bloomfield and the Officers, the splendid Band of H. M. 11th Regiment will be in attendance. MADAME DE STORR Harpist to H. R. Highness the Duchess de Berry, begs to inform the inhabitants of Sydney and its vicinity that she gives a Grand Vocal and Instrumental Concert on the above evening, when she respectfully solicits their patronage. Madame de Storr will be assisted by the following Artistes: -  Madame Sara Flower, Madame Carandini, Miss Flora Harris, Mr. F. Howson, Mr. J. Howson, Mr. Coleman Jacobs (Pianist to H. R. Highness the Duchess of Gloucester), his fourth appearance in Sydney, Signor Caranzani (first violin to his Majesty the King of Sardinia), Mr. Evans Sloper (saxe-horn), Monsr. Longchamp (flutist), who has kindly offered his gratuitous services. Conductor and Pianist - Mr. STANLEY. PROGRAMME. PART 1ST. Overture - Military band. Madrigal - "Down in a flowery vale," (Festa 1650 [sic]) - Miss Flora Harris, Madame Carandini, Madame Sara Flower, Mr. J. Howson, and Mr. F. Howson. Scena - "She comes in all her loveliness," (Matilda of Hungary) - Mr. F. Howson. Fantasia - Flute - Monsieur Longchamp. Aria - "Batti, Batti, bel Musette," (Il Don Giovanni) - Miss Flora Harris. Ballad - "When I behold those happy scenes," (Sicilian Bride, Balfe) - Mr. J. Howson. Duet - Harp and violin - Aria -"Varie par Bochsa" - Madame de Storr and Signor Caranzani. Scena - "Oh! Roberto," (Robert le Diable) - Madame Sara Flower. Solo - Saxe-horn - Mr. Evans Sloper. Scena - "Vieni t'affretta," (Macbeth) - Madame Carandini. Fantasia - Pianoforte - Thema, "We may be happy yet," (by desire) - Mr. Coleman Jacobs. Duet - "Bright lovely images," (Semiramide) - Madame Sara Flower and Mr. F. Howson. Solo - Harp, "Cavatina, from La donna del Lago," (Labarre) - Madame de Storr. PART 2ND. Overture - Military Band. Duet - "Lascia mi, non t'ascolta," (Rossini) - Madame Carandini and Madame Sara Flower. Song - Mr. J. Howson. Solo - Violin - Signor Caranzani. Ballad - "Child of the Sun," (Bondman) - Miss Flora Harris. Duet - Harp and saxe-horn. - "Morceau par Bochsa" - Madame de Storr and Mr. E. Sloper. Ballad - "On ev'ry tree that blossoms," (German song) - Madame Carandini. Descriptive Song - "The Blind Man's Song," - Mr. F. Howson. Ballad - "Gentle Mother," (Linley) - Madame Sara Flower. Fantasia - Flute - Monsieur Longchamp. Glee - "Ye Spotted Snakes," (Midsummer Night's Dream) - Miss Flora Harris, Madame Carandini, Madame Sara Flower, Mr. J. Howson, and Mr. F. Howson. Finale - "God Save the Queen." Doors open at hall-past seven; Concert to commence at eight precisely. Boxes, £2 2s. each, to be had of Mr. F. Howson, Woolloomooloo; Madame de Storr, 70, Hunter-street; Mr. Torning, Victoria Hotel. Single tickets, 5s. each; Pit Stalls, 3s.; Upper Circle, 3s. each. To be had of the principal stationers and music shops. [Manicule] The Pit Stall seats will be covered, &c., and rendered, in every way, as comfortable and select as the Dress Circle.
ASSOCIATIONS: Marie-Caroline (duchesse de Berry); Sara Flower (vocalist); Maria Carandini (vocalist); Flora Harris (vocalist); Frank Howson (vocalist); John Howson (vocalist); Coleman Jacobs (pianist); Felix Caranzani (violinist); Frederick Evans Sloper (sax-horn player); Jean Francois Lonchamp [sic] (flautist); William Stanley (pianist, accompanist); Band of the 11th Regiment (military); Royal Victoria Theatre (venue)
"MADAME DE STORR'S CONCERT", The People's Advocate and New South Wales Vindicator (25 June 1853), 3
http://nla.gov.au/nla.news-article251544306
Last Tuesday evening this entertainment was given at the Theatre, and we regret to state that instead of proving to be a high musical treat, as was anticipated, it turned out a dull, lame, and spiritless affair. This, we are inclined to believe, arose partly from the unusual length of the performance, and also from the little judgment displayed in selecting the pieces composing it. Indeed, with the exception of the Overtures, performed by the Military Band in anything but a first-rate style, the music for the most part seemed to have been selected by the Performers for their own amusement than for that of the audience: the natural consequences ensued, and it was amusing enough to witness it; long before the close of the Concert, the audience, under the influences of the chilly atmosphere and of the frigid and ineffectual attempts to please them, became "fine by degrees and beautifully less," those who departed without doubt sincerely commiserating those they had left behind. The only parties who earned an encore were Madame Flower and Mr. Sloper Evans: the former, as an old established favorite, deserved the compliment paid to her by the skill and professional science with which she successfully overcame difficulties in a musical piece evidently not calculated to display the best parts of her voice; Mr. Sloper Evans was not less entitled to the warm and friendly reception he met with; at every appearance he seems to progress in public favour; we sincerely hope that he will experience still more substantial appreciation of his merits as an artist at his approaching benefit, which there is every reason to believe will be equally attractive to the admirers of L'Allegro and Il Penseroso, to the lovers of the serious and of the comic.
Of the other portions of this Concert little more need be said excepting that Miss Flora Harris, although evidently labouring under indisposition, sung with the same sweetness, feeling and purity of intonation which have established her here as a favorite of the musical cosnoscenti, and that Madame Carandini executed a Cavatina in that energetic but not highly cultivated style, which has earned her a not unmerited popularity with the less fastidious critics of the pit and gallery. Of the lady for whose benefit the Concert was given, we will only observe that she must have heard such unequivocal proofs of the opinion of a Sydney audience with reference to her capabilities, that we trust for her own sake she will not venture to make a second experiment on their indulgence.
"MADAME DE STORR'S CONCERT", Bell's Life in Sydney and Sporting Reviewer (25 June 1853), 2
http://nla.gov.au/nla.news-article59757337
On Tuesday evening the Victoria Theatre was attended by a most select and fashionable assembly, attracted by the splendid programme issued by the above-named lady, and which included the names of the most popular artistes in the metropolis. The Band of the 11th Regiment attended on the occasion. Of the "stars" of the night it is alone necessary to speak; and but few words will be needed to record our opinion. The lady's proficiency on the harp may have won for her a professional appointment to the Duchess De Berri; but the effect of her performance upon our weak nerves - heightened though it was by spectacles, wig, and pink gingham - was anything but "stunning." We were not electrified, or - as Uncle Sam would express himself - "struck all of a heap." In brief, we "dropped down" - having unfortunately heard a harp played before, in our time. "Signor Caranzani, (1st violin to H. M. the King of Sardines,) though a queer looking fish, acquitted himself most satisfactorily, he is unquestionably master of that most difficult of instruments, and his execution is unusually brilliant. We were decidedly pleased with the Signor. Our fair friends, Mesdames Flower and Carandini, amply atoned for the disappointment generally expressed relative to "de Storr" of the evening; and the brothers Howson most ably seconded the endeavours of the ladies. The tootle-tooing of Mons. Longchamp, inasmuch as it was gratuitous, must not be cavilled at. "Never look a gift horse in the mouth," is an adage as old as the first present on record, viz.-that of Eve's first-born to his father. Mr. Evans Sloper's masterly performance on the Saxe Hore [sic] elicited much and deserved applause. The entertainments were prolonged almost to too late an hour; too much of a thing, however good, is surfeiting.
[Advertisement], The Sydney Morning Herald (29 June 1853), 1
http://nla.gov.au/nla.news-article12946949
WANTED immediately, for a Lady and Gentleman, a bed and sittng room, with or without board, in a respectable family. Apply to A. de STORR, 70, Hunter-street.
[Advertisement], The Sydney Morning Herald (26 July 1853), 1
http://nla.gov.au/nla.news-article12947570
MADAME DE STORR, 58, York-street, Portrait Painter, and Professor of Harp. Mr. DE STORR, Professor in French Language.
[Advertisement], The Sydney Morning Herald (14 December 1853), 7
http://nla.gov.au/nla.news-article30939433
MADAME GAUTROT'S GRAND EVENING CONCERT, at the Royal Hotel, on Wednesday Evening, December 14. Under Distinguished Patronage. - Madame Gautrot begs to inform her friends and the public generally that she purposes giving a Grand Concert on the above evening, when she will be assisted by the services of Miss Flora Harris, Madame De Store [sic], Mons. Strebinger, Mr. Lonchamp, Mr, John Howson, and Mr. Natty, the celebrated violoncelliste, recently arrived from the continent, who will make his first appearance. PROGRAMME. PART I. - Aria, the Lovely Harp, Miss Flora Harris . . .  PART II. - Solo - harp - Partant pour la Syria (composed by the Queen of Holland, mother of Louis Napoleon, variations by Bochsa), Madame De Store . . .
ASSOCIATIONS: Madame Gautrot (vocalist); Frederick Strebinger (violinist); Octave Natthey (cellist)
MUSIC: Martial fantasia on Partant pour la Syrie (Bochsa)
"CLEARANCES", Empire (11 January 1854), 2
http://nla.gov.au/nla.news-article60148177
January 10. - Harbinger, steamer, 593 tons, Captain Lane, for Southampton via Melbourne, in 1 ballast. Passengers . . . for Melbourne . . . Mrs. De Storr . . .
[Advertisement], The Cornwall Chronicle [Launceston, TAS] (18 March 1854), 5
http://nla.gov.au/nla.news-article65714307
MUSICAL SOIREE. MADAME DE STORR, Harpist to H. R. H. the Duchess of Berry, BEGS TO INFORM the ladies and gentlemen of Launceston and its vicinity, that she will give a MUSICAL SOIREE on the 30th instant, at the Cornwall Assembly Rooms, when she will perform several BRILLIANT PIECES ON THE HARP. At the same time, she has endeavored to procure all the available talent of Launceston, to variegate the evening's entertainment. Full particulars in future advertisement.
[Advertisement], Launceston Examiner (6 May 1854), 3
http://nla.gov.au/nla.news-article36288941
VOCAL AND MUSICAL ENTERTAINMENT. TUESDAY, MAY 9, 1854. AT THE CORNWALL ASSEMBLY ROOMS, BY PROFESSOR LEES AND HIS SONS, ASSISTED BY MADAME de STORR, HARPIST, AND Herr Imberg. For programme and full particulars see hand bills. FOR THIS NIGHT ONLY. Admission, 5s. each.
ASSOCIATIONS: Julius Imberg (pianist); John Lees (d. 1855) and "sons" [Hanlon brothers] (gymnasts); see Mark Cosdon, The Hanlon brothers: from daredevil acrobatics to spectacle pantomime, 1833-1931 (Carbondale and Edwardsville: Southern Illinois University Press, 2009), 9-11
https://books.google.com.au/books?id=CFtrWkiS2WMC&pg=PA9 (PREVIEW)
"PORT OF LAUNCESTON", Colonial Times (3 June 1854), 2
http://nla.gov.au/nla.news-article8776201
DEPARTURES. May 30 - . . . Barque John King, S. Ellis, for Mauritius. Passengers - Captain Cruanc, M. De Storr, Madame De Storr, Mr. N. M. Ellis . . .
See also ship manifest:
https://stors.tas.gov.au/POL220-1-3$init=POL220-1-3P295 (DIGITISED)

Bibliography and resources:
Estudos brasileiros (1942), 110
. . . Madame de Storr tambem concorria no magistério artístico: dava liçoes de musica e harpa, de que fôra distinta aluna do célebre Bochsa. Fizera as delícias dos salões de París e Nápoles. Esta senhora foi muito apreciada tambem no Rio de de Janeiro, onde deu um concerto, a que se referiu o Jornal do Commercio de 10 de Agosto de 1840.
W. Arundel Orchard, Music in Australia: more than 150 years of development (Melbourne: Georgian House, 1952), 51
https://archive.org/details/in.ernet.dli.2015.28983/page/n77/mode/2up (DIGITISED)
. . . A harpist, Madame de Storr, and a good singer, St. John Adcock, were active at this period, but more important was the arrival in that year [1853], via Hobart, of Charles S. Packer, pianist, organist and composer . . .
Eugenio Pereira Salas, Estudios sobre la historia del arte en Chile republicano (Santiago: Ediciones de la Universidad de Chile, 1992), 58
. . . Este sistema, precursor de la fotografía, fue conocido en Chile, y aún en 1842 puede leerse en la prensa los avisos de Madame de Storr, que se dice alumna de David, y que en su taller de la calle de Huérfanos ofrece "retratos de perfil hechos con máquinas".
Rosemary Margaret Hallo, Erard, Bochsa and their impact on harp music-making in Australia (1830-1866): an early history from documents (Ph.D thesis, University of Adelaide, 2014), 54, 79, 101-04, 200, 202
http://hdl.handle.net/2440/86482 (DIGITISED)
At 54, Hallo identifies the original purchaser of harp 4886 (finished in February 1835), on 17 March 1835, as Madame de Storr "although the ledger entry was not clear"; however, a clear reading shows that the purchaser was a Miss Steers; see Erard London ledger 3, fol. 68
https://archive.org/details/erard-harp/ErardHarp_3/page/n75/mode/2up (DIGITISED)

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Stubbs Gibsonview full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online: STUBBS, Gibson (William Gibson STUBBS; Gibson STUBBS; Mr. STUBBS)
Actor, manager, scenic artist, theatrical scene painter
Arrived Launceston, VDL (TAS), by June 1843 Married Hannah GODDBY, Hobart, VDL (TAS), 17 May 1845 Active Geelong, VIC, by 1850
https://trove.nla.gov.au/search?l-publictag=William+Gibson+Stubbs (TROVE tagged by Australharmony)
https://sydney.edu.au/paradisec/australharmony/register-S-4.php#STUBBS-William-Gibson (shareable link to this entry)
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Torning Andrewview full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online: TORNING, Andrew (Andrew TORNING; Mr. A. TORNING)
Actor, comedian, clown, dancer, scene painter, decorator, theatrical artist, theatrical manager
Born London, England, 26 September 1814 Married Eliza CREW, St. Leonard's church, Shoreditch, England, 9 July 1832 Arrived Sydney, NSW, 21 October 1842 (per Trial, from London, via Rio de Janeiro, 18 August, and Plymouth, 18 May) Departed Sydney, NSW, May 1859 (for San Francisco) Returned Sydney, NSW, December 1867 (from San Francisco) Died Manly, NSW, 13 April 1900, aged 86
https://trove.nla.gov.au/search?l-publictag=Andrew+Torning (TROVE tagged)
http://nla.gov.au/nla.party-478249 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-T-2.php#TORNING-Andrew (shareable link to this entry)
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Mason Walter George scene artistview full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online: In entry on Eliza Torning, etc
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Troedel Charlesview full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online: TROEDEL, Charles (Johannes Theodor Carl TRÖDEL; Johannis Theodore Charles TROEDEL; Charles TROEDEL)
Music and general lithographer and engraver, printer, and publisher
Born Hamburg, Schleswig-Holstein, Denmark (Germany), c. 1835/36; son of Carl August TRÖDEL and Maria BUCK Arrived Melbourne, VIC, 5 February 1860 (per Great Britain) Married Sarah Julia GLOVER (1850-1929), St. Paul's church, Melbourne, VIC, 29 June 1869 Died St. Kilda, VIC, 31 October 1906, aged 71
https://trove.nla.gov.au/search?l-publictag=Charles+Troedel (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-520639 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-T-2.php#TROEDEL-Charles (shareable link to this entry)

https://en.wikipedia.org/wiki/Charles_Troedel#/media/File:Charles_Troedel00.jpg (DIGITISED)

Documentation:
"SHIPPING. HOBSON'S BAY. ARRIVED", The Age (6 February 1860), 4
http://nla.gov.au/nla.news-article154879820
February 5 - Great Britain, s., 3444 tons, John Gray, from Liverpool, 11th December. Passengers - Cabin . . . Mr. and Mrs. Staukrafft [sic] . . . Second cabin . . . C. Trodel . . .
[Advertisement], The Argus (21 July 1863), 7
http://nla.gov.au/nla.news-article6487476
To be PUBLISHED MONTHLY, under the patron age of His Excellency Sir Henry Barkly, K.C.B., The MELBOURNE ALBUM. A series of elegant tinted lithographic Views of Melbourne and surrounding Districts, To be completed in 12 monthly parts, each part containing two views. Monthly Subscription (for the two views), 7s. 6d. Drawn, lithographed, printed, and published by T. Cogne and C. Troedel, at Schuhkraft's establishment, 178 Elizabeth-street.
[Advertisement], The Argus (8 September 1863), 1
http://nla.gov.au/nla.news-article6488820
WANTED, a Smart BOY, for the lithographic printing business. Apply Charles Troedel, 73 Collins-street east.
[News], The Argus (27 June 1867), 5
http://nla.gov.au/nla.news-article5770820
We have received from the publisher, Mr. Charles Troedel, a copy of two songs, the composition of Mr. Engers Ascherberg [sic], a gentleman who recently arrived here from Germany. The words to the first song, commencing with "O calm thyself, my heart," are a very successful translation of a beautiful little poem by Robert Prutz, and are of a character somewhat "gefühlvoll," as the Germans would say. The music, which is well suited to the text, is rather "kuckenish." However, we have no reason to find fault with it on that account, as when rendered with proper understanding, it is really expressive of a great deal of deep feeling. The second song differs in its character from the first, being those well known lines by Mrs. Hemans, "Mother, oh sing me to rest." The music, which in this case is thoroughly original, is beautifully tender, and is admirably wedded to the words. The get up of the publication does credit to Mr. Troedel.
ASSOCIATIONS: Eugene Ascherberg
"DUKE OF EDINBURGH WALTZ", South Australian Register (5 November 1867), 2
http://nla.gov.au/nla.news-article39187829
We have received from Mr. Woodman's music warehouse, Rundle-street, a copy of a new waltz named as above. It has been composed and dedicated, by special permission, to His Royal Highness Prince Alfred K.G., by Harcourt Lee, and published by W. H. Glen, Melbourne. The title-page is from an elaborate design by C. Turner, and is quite gorgeous in blue and gold. In the centre is a portrait of His Royal Highness in full naval uniform. An elegantly attired female figure, intended probably to represent Australia, is offering His Royal Highness a chaplet. At her feet are the arms of Australia and a cornucopia, with an anchor and other naval emblems, partially covered by an ensign. The Galatea, firing a salute, is seen in the distance and a sketch of Edinburgh Castle occupies the remaining space in the design. The lithography is by C. Troedel . . .
ASSOCIATIONS: Harcourt Lee (composer); William Henderson Glen (publisher); Charles Turner (artist)
Victorian naturalisation index; Public Record Office Victoria
https://www.ancestry.com.au/imageviewer/collections/60711/images/44441_346526-04135 (PAYWALL0
Charles Troedel / Printer & Lithographer / Swanston St. Melbourne / Age (on date of naturalization) 32 / Native place: Hamburg Germany / Date of certificate: 19. 3. 69
[News], The Argus (26 June 1869), 5
http://nla.gov.au/nla.news-article5830680
Last evening a very graceful tribute was paid to Mr. Charles Troedel, the well-known lithographer, on the occasion of his marriage-eve, by his fellow members of the German Liedertafel. Under the leadership of their conductor, Herr Sprinckhorn, the association assembled before Mr. Troedel's residence, in Russell-street, and serenaded him in the good old style of the fatherland. The pieces sung were Spohr's Polterabend or nuptial song, a serenade by Hennerberg, and Schaffer's Liedertafel polka. The effect of the music as sung under the quiet moonlight was very fine, and the group of singers, lit up by the lanterns held by some of the serenaders, was in quaint keeping with the unique character of the ceremony. After the music the serenaders were entertained at Mr. Troedel's residence, and the health of the intending Benedick was proposed in a humorous speech by Dr. Jonasson, the president of the society.
"NEWS OF THE DAY", The Age (18 September 1876), 2
http://nla.gov.au/nla.news-article200236424
The usual weekly meeting of the Musical Association of Victoria, for election of new members and associates, was held in the German Association's rooms, Nissen's cafe, on Saturday evening. There was a good attendance of trustees and members. Mr. J. Siede was voted to the chair. Mr. Armes Beaumont, the favorite tenor, proposed by Mr. Lundborg, and Mr. Edward King, violinist and orchestral leader, proposed by Mr. J. Siede, were unanimously elected members. Mr. Chas. Troedel, lithographic printer, Collins-street, proposed by Mr. Perraton; and Mr. W. F. Dixon, of Dixon and Co., music warehouse, Elizabeth-street, proposed by Mr. Dumoulin, were also unanimously elected associates . . .
ASSOCIATIONS: Julius Siede (musician); Edward King (violinist); Armes Beaumont (tenor); John William Lundborg (trombonist); Gustave Dumoulin (violinist); William Perraton (musician); William Frederick Dixon (music seller, ? commission agent)
"DEATHS", The Argus (1 November 1906), 1
http://nla.gov.au/nla.news-article9665565
TROEDEL. - On the 31st October, at his residence, "Eastcourt," St. Kilda road, Charles, the dearly beloved husband of Julia Troedel, in his 71st year.
"ABOUT PEOPLE", The Age (1 November 1906), 8
http://nla.gov.au/nla.news-article201684590
Mr. Charles Troedel, who died yesterday in his 71st year, was one of the oldest pioneer lithographers in the State, having arrived in Victoria in 1860. He commenced business on his own account in 1863 in Collins-street, where the Town Hall now stands. He was the first to produce chrome lithography, tie work being a reproduction of the late N. Chevalier's celebrated paintings of Australian scenery. He was an active member of the German Liedertafel and the Turn Verein in the early days, and later held positions on the Master Printers' Association and the wages boards connected with the trade. He leaves a widow, four sons and two daughters. The interment will take place on Friday at the Melbourne General Cemetery, the cortege leaving the deceased gentleman's residence, St. Kilda-road, at 3 p.m.

Musical editions (cover and/or music lithography):
https://trove.nla.gov.au/search/category/music?keyword=Troedel

Bibliography and resources:
Clive Turnbull, "Troedel, Johannes Theodor Charles (1836-1906)", Australian dictionary of biography 6 (1976)
http://adb.anu.edu.au/biography/troedel-johannes-theodor-charles-4749
Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999), 238-39 (main entry)
http://ro.uow.edu.au/theses/2926 (DIGITISED)
Charles Troedel, Wikipedia
https://en.wikipedia.org/wiki/Charles_Troedel

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Turner Charlesview full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online: In entry on Charles Troedel
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Varley Frankview full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner
http://search.slv.vic.gov.au/permalink/f/1cl35st/SLV_VOYAGER1657114
https://www.slv.vic.gov.au/pictoria/gid/slv-pic-aab38560 (DIGITISED)
ASSOCIATIONS: Thomas Flintoff (artist); there was no "earl of Glinton", though there was an Earl of Eglinton, Archibald Montgomerie; however, it is perhaps more likely that Varley was a member of the same extended Varley family of artists to which Nugent Varley (below) also belonged

Documentation:
[8] views of Melbourne, lithographed from original drawing by E. Thomas & published by F. Varley [? 1855]
https://trove.nla.gov.au/work/33292107
"COLLINS STREET - 1853. LOOKING WEST", lithograph, by Edmund Thomas, (Melbourne, F. Varley, [? 1855])
http://www.artnet.com/artists/edmund-thomas/collins-street-looking-west-E7Bh388CNMJb_Shlayf67Q2 (DIGITISED)
ASSOCIATIONS: "Lithographed from Original Drawing by E. Thomas & Published by F. Varley"; Edmund Thomas (artist)
[Advertisement], The Argus (19 June 1855), 8
http://nla.gov.au/nla.news-article255613308
MELBOURNE. - Ayrshire Hotel. - Frank Varley will give one of his highly Amusing Entertainments this evening.
[Advertisement], The Argus (21 June 1855), 8
http://nla.gov.au/nla.news-article4809747
FLEMINGTON. - Frank Varley, the Polyphonist, will Give One of his Popular Entertainments on Saturday Evening next, at the Bridge Inn. N.B.-Private entrance.
"MR. FRANK VARLEY", Geelong Advertiser and Intelligencer (26 November 1855), 3
http://nla.gov.au/nla.news-article91867591
This gentleman's entertainment took place on Saturday evening, at Southey's Hotel, before a very small audience. Varley is really clever, and itmust have been most disheartening to him to go through his most exquisite drolleries to empty benches. We are not aware whether Mr. Varley will again test the taste and the pocket of Goelongites by repeating his entertainment; if he do not, then the public have lost a treat. Varley's personation of the "Veway Wefined young gentleman in winglets" was exquisite; the French Shoeblack is a character never to be forgotten, and the simpering Miss Aribella Brown with her "well, I don't mind telling YOU you know," irresistibly ludicrous. Varley is the best Ventriloquest that has ever visited Geelong; and we can only account for the poor attendance by supposing that his merits were not known. We would advise him to give the public another trial.
[Advertisement], Empire (24 September 1857), 1
http://nla.gov.au/nla.news-article60261897
CREMORNE GARDENS.-The Lessee of the above place of public entertainment begs to announce to the public that he intends opening, with a GRAND GALA AND FETE DAY, on MONDAY NEXT, September 28th instant . . . FRANK VARLEY, Agent.
[Advertisement], The Sydney Morning Herald (26 September 1857), 1
http://nla.gov.au/nla.news-article13001089
CREMORNE GARDENS.-The above beautiful gronnds will open MONDAY next, September 28th . . .  Herr Appel's brilliant Band will perform several selections from the operatic gems of the day during the afternoon, and in the evening the grounds will be brilliantly illuminated. The Ball will commence at 8, and the entertainments conclude with a gorgeous display of Fireworks . . .  On THURSDAY next a Grand BAL MASQUE. F. VARLEY, agent
ASSOCIATIONS: Conrad Appel (musician)
"CREMORNE GARDENS, NORTH SHORE", Empire (29 September 1857), 4
http://nla.gov.au/nla.news-article60260612
The Cremorne Gardens opened for the Summer season yesterday, under the management of Mr. F. Varley. We were pleased to notice that during the recess, the grounds have been very much improved, and the accommodation rendered more perfect than formerly . . .
[Advertisement], Empire (21 July 1858), 1
http://nla.gov.au/nla.news-article60425410
THE SYDNEY MORNING HERALD'S INSULT TO THE PUBLIC, AND ATTACK UPON THE VICTORIA MANAGEMENT, COMPANY, AND ORCHESTRA: We, the undersigned members of the above Company, beg leave to call the attention of the play-going public to the slanderous and malicious attack made this morning, Tuesday, July 20th, upon our talents by a Mr. Holloway, a Coal Collector, who is allowed by Mr. Fairfax occasionally to write criticisms upon theatrical performances . . . We beg leave to subscribe ourselves . . . Joseph Rayner, Richard Stewart, C. H. Burford, Frank Howson . . . F. Varley . . . Mrs. Guerin . . . [Mrs.] Winterbottom . . . John Winterbottom, Conductor of the Orchestra, A. Usher, Leader . . . JAMES SIMMONDS, Lessee and Manager, Royal Victoria Theatre.
ASSOCIATIONS: John Fairfax (editor); Edmund Holloway (reviewer, comedian); Richard Stewart (actor, vocalist); Theodosia Guerin (actor, vocalist); John and Maria Winterbottom (conductor and actor); Alfred Usher (leader, violin); James Simmonds (lessee)
See also: "COURT OF O. P. AND P. O.", Bell's Life in Sydney and Sporting Reviewer (24 July 1858), 2
http://nla.gov.au/nla.news-article59869011
"THEATRICALS. PRINCE OF WALES", Bell's Life in Sydney and Sporting Reviewer (2 July 1859), 2
http://nla.gov.au/nla.news-article59870836
The revival of Opera at this Theatre on Saturday evening was rapturously greeted. The gorgeous power and luscious richness of sweet voices now resound through out this spacious edifice. The artistes on their appearance were warmly welcomed, and, encouraged by the plaudits of a house crowded to excess, the performance became a brilliant triumph. The powerful music of Verdi is difficult of comprehension to English voices; but, nevertheless, so popular has the melodious Trovatore proved, that Mr. Charles Poole could not resist the temptation of bringing it out on his opening night. The band, led on by Lavenu, was excellent, the choruses good, and not distinguished by that loud shouting which many of our choruses are, the leading vocalists winning fresh laurels in their respective roles . . . We may add that the scenery, by Mr. Frank Varley, exceeded even the highest expectations we had formed of it . . .
ASSOCIATIONS: Charles Poole (manager, actor); Lewis Henry Lavenu (conductor)
[Advertisement], The Sydney Morning Herald (25 July 1859), 1
http://nla.gov.au/nla.news-article13028239
PRELIMINARY ANNOUNCEMENT. The AUSTRALIAN DRAMATIC and MUSICAL ASSOCIATION. President, - Mr. Henry Edwards. Treasurer, - Mr. Charles Jones. Secretary, - Mr. Frank Varley. COMMITTEE. Mr. H. Burford; Mr. H. Twight; R. Stewart; F. Sharp; A. Usher; C. Jones; G. Morton; F. Varley. OBJECTS OF THE ABOVE SOCIETY. Firstly, - The advancement of the Dramatic and Musical Professions, especially with regard to their position as branches of the liberal arts. Secondly, - The maintenance of a system of correspondence as far as practicable, with the theatres of the Australian Colonies, so as to enable the society to gain every information affecting the interests of members of the profession. Thirdly, - The provision of funds for the relief of members of the Association when out of employment, together with an ulterior view to the establishment of a benefit fund based on the principles of similar institutions existing in England. Fourthly. - For the promotion of a better feeling of brotherhood among the members of the profession, and the free and unbiassed discussion of all interests affecting the same. FRANK VARLEY, honorary secretary. All inquiries and communications to be addressed to the Secretary, Prince of Wales Theatre. N.B. A special MEETING of the Committee, on TUESDAY, the 26th instant, at three o'clock precisely.
ASSOCIATIONS: Charles Edward Jones (manager, member); Frederick Sharp (musician)
"AUSTRALIAN DRAMATIC AND MUSICAL ASSOCIATION", Empire (30 July 1859), 5
http://nla.gov.au/nla.news-article60406241
A meeting was held at the Shakespare Hotel, Pitt-street, for the purpose of extending the formation of the society, and was numerously attended by members of the Theatrical profession. Mr. Usher in the absence of Mr. Edwards, the president of the society, occupied the chair. Mr. Frank Varley, the secretary, briefly stated the objects of the association, calling particular attention to the fact that it was to elevate the moral tone and social position of every member of the theatrical community. He then adverted to the unprovoked and illiberal attack of the Rev. Mr. Beasley [sic], in his recent lecture at the Young Men's Christian Association, and said that it would be the pride of every gentleman connected with the stage to prove, by their conduct, that the narrow views which the reverend lecturer entertained were wrong . . .
For the Rev. Joseph Beazley's lecture, see "YOUNG MEN'S CHRISTIAN ASSOCIATION. LECTURE ON POPULAR AMUSEMENTS", The Sydney Morning Herald (26 July 1859), 5
http://nla.gov.au/nla.news-article13028302
[Advertisement], Empire (23 November 1859), 1
http://nla.gov.au/nla.news-article64093404
GRAND ORCHESTRAL UNION AND VOCAL CONCERT. The first of a series of Monster CONCERTS, for the benefit of the Dramatic and Musical Artists, late of the Victoria and Prince of Wales Theatres, will take place THIS EVENING, the 23rd instant, At the School of Arts, When the following combination of talent will appear: - Pianist, Mr. C. Packer Leaders, Messrs. Usher and Eigenschenck Second Violins, Messrs. Josephson and Hall Tenori, Messrs. Rice and Davis Violoncello, Mr. F. Howson, jun. Contra Bassi, Messrs. Chate and Brown. Flauto, Messrs. Vaughan and Gallagher. Clarinetti, Messrs. Johnson and Taylor Cornetti - Messrs. Prince and Fredericks Saxe Tuba, Mr. Bligh Tympani and Side Dram, Messrs. Sharpe and Dalton Solo Cornet, Flageolet, and Concertina, Mr. R. W. Kohler VOCALISTS, Mrs. Guerin, Miss Julia Matthews, Mr. R. Stewart, Mr. Frank Howson, Mr. Sam Howard, Mr. T. Taylor. PART I. Overture, Guillaume Tell - (Rossini), - by double orchestra Ballad, The People, F. Howson Quadrille, L'Indienne, with brilliant variations, and new effects, 1st time in Sydney Ballad, Miss Julia Matthews Song, The Groves of Blarney, Mr. Stewart Waltz, Lucia di Lammermoor, Violoncello Obligato, Mr. F. Howson, junr. Ballad, The Cantineer (Balfe), Mrs. Guerin Song, Mr. Taylor Polka, witb obligato movement, first time in Sydney R. W. Kohler. (Interval of Ten Minutes.) PART 2. Overture, La Bayadere, 1st time in Sydney (Auber). Duet, Medley, Mrs. Guerin and Mr. Stewart Flute - solo and variations, Gentleman Amateur Song, Ship on Fire (Russell), Mr. Frank Howson Solo Flageolet, Mr. R. W. Kohler Local Comic Song (written for this occasion,) Mr. S. Howard Finale - Galop, Champagne, with original effects, by Mr. R. W. Kohler . . . Communications for Committee to be forwarded to the Shakespeare Hotel, Pitt-street.  FRANK VARLEY, Secretary.  Mr. R. STEWART, Treasurer. SCHOOL OF ARTS CONCERTS. - Rehearsal TO-DAY, at 11 a.m. F. VARLEY, Secretary.
ASSOCIATIONS: Charles Packer (piano, conductor); Charles Eigenschenck (violin); Walter John Rice (viola); Julia Mathews (vocalist); Sam Howard (comic vocalist); Richard Wildblood Kohler (musician)
"OLYMPC THEATRE, MAITLAND", Bell's Life in Sydney and Sporting Reviewer (24 December 1859), 2
http://nla.gov.au/nla.news-article59871824
The members of the Sydney Dramatic Company commenced their season at this elegant little theatre on Monday evening last, under most favorable auspices . . . The new scenery, painted by Mr F. Varley, was characteristic and elegant . . . The orchestra, under the able direction of Mr. W. Rice, played some first rate selections in brilliant style . . .
[Advertisement], The Argus [Melbourne, VIC] (8 February 1861), 8
http://nla.gov.au/nla.news-article5697416
PRINCE of WALES THEATRE. Lessees - Messrs. Varley and Hancock. MONSTER PROMENADE CONCERTS. For the Million. EVERY EVENING. Admission, One Shilling. Madame CARANDINI, Mrs. Hancock, Miss Chalker, Mr. Walter Sherwin, and Mr. Hancock. HERR GUSTAVUS STRAUCH, The eminent basso (pupil of Lablache), will appear on Saturday next. FRANK VARLEY, Manager.
ASSOCIATIONS: Edward and Mary Ellen Hancock (vocalists); Maria Carandini (vocalist); Marie Chalker (vocalist); Walter Sherwin (vocalist); Gustavus Strauch (vocalist)
"NEW INSOLVENTS", The Age (28 September 1866), 7
http://nla.gov.au/nla.news-article160219026
Frank Varley, late of Ballaarat, but now of Melbourne, theatrical manager. Causes of insolvency: Losses in business, pressure of creditors, adverse judgment in the Supreme Court at the suit of the Dramatic Authors' Society, and loss of about £700 in the Ballaarat Theatre. Liabilities, £351 10s 10d; assets, £78; deficiency, £273 10s 10d. Mr. Goodman, official assignee.
"MELBOURNE (FROM OUR OWN CORRESPONDENT)", Geelong Advertiser (13 July 1875), 3
http://nla.gov.au/nla.news-article150637405
. . . The prospect of a visit of the Prince of Wales to India has created great excitement in theatrical circles here, and already numerous companies are being formed with a view of following the royal progress. The Carandinis are about to take their departure for the scene of splendour; an agent for Miss Alice May's Opera Company proceeds by to-morrow's steamer in advance; and a' company of dramatic performers, engaged by Mr Lewis, proceed by the August mail. Amongst the company engaged by Mr. Lewis are some of the best "genteel comedy" representatives the colony possesses. Mr. Frank Varley is engaged as scenic artist . . .
[Advertisement], Indian Statesman [Bombay, India] (7 September 1875), 1
https://www.britishnewspaperarchive.co.uk/viewer/bl/0003229/18750907/064/0001 (PAYWALL)
LEWIS' DRAMATIC AND BURLESQUE COMPANY. GRANT ROAD THEATRE. THURSDAY, SEPTEMBER 9TH, 1875. GRAND OPENING NIGHT.  The Company includes the following talented Artistes being the largest ever visiting India: -  Mr. G. B. W. Lewis . . . [Mr.] Frank Varley . . .
ASSOCIATIONS: George Benjamin William Lewis (actor, manager)
"MUMMER MEMOIRS", Sydney Sportsman (14 October 1908), 2
http://nla.gov.au/nla.news-article166743717

Bibliography and resources:
"Frank Varley", Design & Art Australia Online (DAAO)
http://www.daao.org.au/bio/frank-varley
Varley, Frank, active 1850-1870s, NZ National Library
https://natlib.govt.nz/records/22430416
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Wallis Jamesview full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
WALLIS, James (James WALLIS)
Amateur musician, soldier, army officer (46th Regiment), flautist, flute player, visual artist, Indigenous culture reporter
Born Cork, Ireland, c. 1785; son of James WALLIS and Lucinda HEWSON Arrived Sydney, NSW, 7 February 1814 (captain of the regiment, per convict transport General Hewitt) Departed Sydney, NSW, 3 March 1819 (with regiment, per Tottenham, for India) Died Prestbury, Gloucestershire, England, 12 July 1858
https://trove.nla.gov.au/search?l-publictag=James+Wallis+c1785-1858 (TROVE tagged by Australharmony)
https://nla.gov.au/nla.party-619320 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-W-1.php#WALLIS-James (shareable link to this entry)
ASSOCIATIONS: Band of the 46th Regiment (Wallis, an officer, was not a member of the band, but rather one of its superiors and employers, and as such he would not usually, if ever, have played with it; nevertheless, it is reasonable to assume that, in Australia, he was proud to be associated with it)
https://collection.sl.nsw.gov.au/record/9NaApvWY/Oq7WKJKBbk5A3 (MAIN IMAGE)
James Wallis served as captain of the 46th Regiment in Australia. While commandant at Newcastle, he made one of the earliest known drawings of a large scale corroboree, a scene also worked up in a painting attributed to his convict protege Joseph Lycett.
Wallis, by his own account, also played the flute, and depicted his instrument and a piece of his music, together with his regiment's drum, in a memorial sketch he made in 1835. The double page of music in the picture, of a single vocal line with underlaid text, though tiny, is legible enough to be identified, and it is clear that he carefully chose the song segment in question:
Let Fate do her worst, there are relics of joy, Bright dreams of the past, which she cannot destroy . . .
These words, with the proper tune above, are the opening lines of the third verse of the song "Farewell, but whenever you welcome the hour", published in 1813 in the fifth number Thomas Moore and John Stevenson's Irish melodies.
A selection of Irish melodies, with symphonies and accompaniments by Sir John Stevenson Mus.Doc. and characteristic words by Thomas Moore esq. [no. 5] (London: J. Power, [1813])
https://archive.org/details/MooreIrishMelodies17/page/n391 (DIGITISED)
NOTE: With thanks to historian Robin Walsh (2019) for kindly bringing this image to my attention.

Sources:
James Wallis - pictorial material and manuscripts; State Library of New South Wales
https://collection.sl.nsw.gov.au/record/nX6OBvEY
https://collection.sl.nsw.gov.au/record/9NaApvWY (VOLUME 1 DIGITISED)
https://collection.sl.nsw.gov.au/record/9NaApvWY/Oq7WKJKBbk5A3 (MAIN IMAGE)
Wallis signed his colour sketch on the central text panel of the main image, "James Wallis - Cove [of Cork], July 17th, 1835"
An attached card insert, revealed by lifting the lid of the urn, has another inscription in which Wallis explained the symbolism of the artwork:
https://collection.sl.nsw.gov.au/record/9NaApvWY/0rKdNVOrmN32m (INSERT IMAGE)
remembrances of past Life. The Cape of Good [Hope] which I twice visited â€“ the fine mountains of South America,  my dog and parrot all copied from nature, my flute and music, the colours of my Regiment which I so often bore surmount the large drum I followed for so many years, the musquet and sword worn as a private and an officer, the grenadier and light infantry cap denote I served on both flanks, my charger now food for the crows shew I was a field Officer, the hour glass in the foreground has like my life, nearly ran its course, on the pedestal the statue of the immortal William show the principles I have lived  & will die professing, the arms of my native city Cork and the corporate badge that I served the office of Sheriff on the Urn the badge and motto of friendly brotherhood are depicted to say I am an old member of that fine order.
Album of original drawings by Captain James Wallis and Joseph Lycett, ca. 1817-1818, bound with An historical account of the Colony of New South Wales (London: Rudolph Ackermann, 1821); State Library of New South Wales
https://collection.sl.nsw.gov.au/record/YRlZGLPn (DIGITISED)
https://collection.sl.nsw.gov.au/record/YRlZGLPn/wab5Zq0zJmKBk (CORROBOREE)

Bibliography and resources:
T. W. Blunden, "Wallis, James (1785-1858)", Australian dictionary of biography 2 (1967)
https://adb.anu.edu.au/biography/wallis-james-2770
James Wallis, Design & art Australia online (DAAO)
https://www.daao.org.au/bio/james-wallis

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Opie Edward Andrew scene painterview full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online: In entry on Anna Maria Watson
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Wilkinson Henryview full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
WILKINSON, Henry [1] (Henry WILKINSON, F.R.C.S.; Dr. WILKINSON)
Amateur musician, vocalist, ? guitarist, amateur artist, cricketer, surgeon
Born Gloucester, England, c. 1810; son of Henry WILKINSON and Matilda TEARSLEY Married Mary IGGULDON (d. 1902), Gravesend, Kent, c. 1851 ? Arrived (1) Melbourne, VIC, by June 1853 Arrived (2) Melbourne, VIC, 25 January 1854 (per Tudor) Arrived (3) Sydney, NSW, 16 November 1855 (per Chowringhee, from Southampton 13 July) Arrived (4) Sydney, NSW, 22 November 1856 (per Light of the Age, from London, 18 August) Active Maitland and Bathurst, NSW, by 1857 Died Sale, VIC, 11 May 1866, aged "56"
https://trove.nla.gov.au/search?l-publictag=Henry+Wilkinson+FRCS+c1810-1866 (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-1483619 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-W-2.php#WILKINSON-Henry-Dr (shareable link to this entry)

Summary:
Wilkinson was surgeon of the 6th Scotch Grenadiers, part of the British Auxiliary Legion in Spain in 1835-37, under the command of George de Lacy Evans. He must, therefore, have been born not much later than around 1810, as his age at death confirms.
Having left the army, he practised in Sheerness, Kent, where he married Mary Igguldon, and where their son John was born, reportedly in 1853.
Wilkinson apparently first came to Melbourne in 1853, where on 9 June 1853 he made a sketch of the Yarra ferry, probably only shortly before sailing back to England. He then arrived a second time in January 1854, as surgeon-superintendent on the government immigrant ship Tudor, also bringing a large speculation of fine art for sale.
He next arrived in Sydney in November 1855, as surgeon-superintendent on the Chowinghee, at which time he made his sketch of Sydney Heads from Botany Bay (Mitchell Library).
He finally returned to Sydney to settle, with his wife and 2 sons, Henry (c. 1852-1865) and John (c. 1854-1941), as a passenger on the Light of the age in November 1856.
He was in Maitland, by March 1857, and, in September, as an amateur singer performed in the first concert of the Maitland Philharmonic Institute. That same month he and his family moved on to Bathurst, where he appeared in an amateur concert in November 1857, and was a foundation member of the Bathurst Philharmonic Society in 1858.
Having left Bathurst by early 1862, he then worked a large area in the southern districts of NSW taking in Burrowa, Wagga, Burrangong, Young and Albury. He had only recently moved with his family to Sale, VIC, at the time of his death there, from fever, on 11 May 1866.
After his death, his family returned to Albury, where his second son John Wilkinson later served as MLA for the district.

Documentation:
"BRITISH AUXILIARY FORCES IN SPAIN", Limerick chronicle [Ireland] (10 October 1835), 4
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000899/18351010/022/0004 (PAYWALL)
Testimonial presented by the Officers of the 6th Regiment to Captain Brash and Lieutenant Garcias:
Portugalette, 6th Sept., 1835. GENTLEMEN, - We, the undersigned Officers of the 6th Regiment Scotch Grenadiers, British Auxiliary Legion, beg to express our unfeigned sorrow that, from peculiar circumstances, you should have found it necessary to give in your resignations, as, from your highly gentlemanlike conduct and unimpeachable character in every respect we are convinced that the loss of your society in the corps will not be easily replaced. We beg you will allow us to make this expression of our feelings, and to unite our most sincere wishes for your future welfare. We remain. Gentlemen, Yours, most sincerely, Graham D. Hunder, Capt.; James Jackson, Capt.; Henry Wilkinson, Surgeon . . .
"MELBOURNE. ARRIVED", Geelong Advertiser and Intelligencer (27 January 1854), 4
http://nla.gov.au/nla.news-article86415833
January 25 . . . Tudor, ship, from Southampton with three hundred and eighty nine Governments [sic] - Henry Wilkinson, Esq. M.D., surgeon. Lyall. MacKenzie and Co., agents.
"THE FINE ARTS", Geelong Advertiser and Intelligencer (24 March 1854), 2
http://nla.gov.au/nla.news-article94359227
A few paintings are to be distributed, by lottery, this day, at Dr. Bainbridge's. They are part of a lot brought out by Dr. Wilkinson, and it is pleasant to learn that he has sold the greater number at good prices: one gentleman, Mr. Willis, having given £150 for four paintings. The lottery for the remainder takes place this afternoon.
[Advertisement], The Argus (5 July 1854), 8
http://nla.gov.au/nla.news-article4794730
GREAT ART UNION DISTRIBUTION. ALL PRIZES. On View, and Subscribers' names received, at Mr. Wilkie's Music Saloon, 15 Great Collins-street - 31 oil paintings, comprising Cabinet Works of Ruysdael, Rembrandt, Carlo Dolce, Wilson, Blacklock, Jeffreys, &c. . . .
"ART UNION. To the Editor of the Argus", The Argus (11 July 1854), 5
http://nla.gov.au/nla.news-article4794989
Sir, - In your notice of my Art Union distribution or of lectures and drawing on view at Mr. Wilkie's, Collins-street, there occurs a passage likely to do me some injury with the public. I am quite sure, from the general tenor of the paragraph, that it must have been accidental, and I have no doubt you will kindly publish this explanatory note. You say, "A collection of cabinet pictures after Ruysdael, Rembrandt, Lewis, Blacklock," &c., from which any reader would imply that the whole of the pictures, ancient and modern, were but copies. Now, I warrant the Ruysdael and Rembrandt to be genuine specimens of the masters, and, the whole of the modern pictures have been purchased by me fresh from the easels of the painters. The collection was made at a very heavy outlay, and against the opinion of friends, and I might possibly have invested my capital in a more profitable and less troublesome manner, but I earnestly wished to bring to the colony really good works of art, and had no doubt of being able to sell them readily. In this I have been disappointed, and am now compelled to dispose of the collection on terms very advantageous to the public. I have the honor to be, Sir, Your obedient servant. HENRY WILKINSON. Music and Pianoforte Saloon, 15 Collins-street, Melbourne, 8th July 1854.
In reference to "THE FINE ARTS", The Argus (7 July 1854), 5
http://nla.gov.au/nla.news-article4794866
"SYDNEY SHIPPING", The Maitland Mercury and Hunter River General Advertiser (21 November 1855), 3
http://nla.gov.au/nla.news-article708899
16 - Chowringhee, ship, 893 tons, Captain Ferguson, from Southampton 13th July . . . 291 Government immigrants. Dr. H. Wilkinson, Surgeon Superintendent.
"SHIPPING INTELLIGENCE. ARRIVALS", Empire (24 November 1856), 4
http://nla.gov.au/nla.news-article64980216
November 22 - Light of the Age, ship, 1066 tons, Captain Williams from London August 18th. Passengers - Dr. Wilkinson, Mrs. Wilkinson and 2 children . . .
"To the Editors of . . .", The Maitland Mercury and Hunter River General Advertiser (4 April 1857), 2
http://nla.gov.au/nla.news-article18644874
GENTLEMEN - In your report of the dinner at the Rose Inn, in commemoration of the opening of the Great Northern Railway, you made a slight error, which, to men cognizant of military matters, would appear ridiculous, inasmuch as I am there represented to have mentioned the name of Sir Evan McKenzie. Sir De Lacy Evans was the General I named, and I am in a position to judge of his ability and courage, as I served under him, with the rank of surgeon of the 6th Scotch, and subsequently as stuff surgeon of the Light Brigade, in the British Auxiliary Legion of Spain. - I have the honour to be, gentlemen, your obedient servant, HENRY WILKINSON.
"MAITLAND PHILHARMONIC INSTITUTE", Northern Times (30 September 1857), 2
http://nla.gov.au/nla.news-article128751964
On Monday last the members of the Maitland Philharmonic Institute gave a musical entertainment in the hall of the School of Arts. Long before the commencement of the proceedings the hall was tolerably filled, and ere the conclusion of the performance, was crammed to overflowing. One of the members of the Institute delivered a lecture on music, and very prudently occupied only about an hour in the delivery of his discourse . . . Mr. James Dean sang a sacred solo, "Lord, remember David," with great precision and effect, his voice being very suitable to the rendering of that beautiful air. He was greatly and deservedly applauded. In the course of the evening, Dr. Wilkinson sang in true Scherzando style, "O the merry days when we were young," and being rapturously encored, substituted for the preceding a pretty German air. "Where the bee sucks" was rendered very effectively by the company, and was encored. Mr. Kellerman presided at the pianoforte with his usual taste and ability. The whole affair was extremely well conducted, and passed off without anything occurring to mar the pleasures of the evening. The singing, though not first-class, was respectable, and such as cultivated ears might listen to with delight; and a better conducted audience never before assembled in Maitland, nor in any other place. There could not have been less than 400 persons present, and many had to go away, not being able to obtain admittance. We congratulate the Philharmonic Institute on this its first concert and first success, and hope that it will continue to extend its influence proudly and wide, until it reaches maturity and becomes an ornament to the town and neighbourhood.
ASSOCIATIONS: James Dean (vocalist); William Kellerman (pianist); Maitland Philharmonic Institute (organisation)
MUSIC: Oh the merry days when we were young (E. J. Loder); or, less likely, Oh the merry days when we were young ("A Favorite Ballad, Sung with Unbounded Applause by Mrs. Wood")
[Advertisement], Bathurst Free Press and Mining Journal (11 November 1857), 3
http://nla.gov.au/nla.news-article62046530
ROYAL VICTORIA THEATRE, DURHAM STREET. UNDER the auspices of the President, Officers, and Committee of the Bathurst School of Arts and Mechanics' Institute. A GRAND AMATEUR CONCERT, In aid of the Fund now being raised to meet the Government Grant for a building, for the purposes of the School of Arts, will be given at the above Theatre, on THURSDAY EVENING, THE 12TH NOVEMBER, 1857. PROGRAMME. PART FIRST. Solo - Mr. Beach, and Chorus - "The Red, White, and Blue" - HARROWAY Cavatina - "Oh! whisper what thou feelest" (Crown Jewels) Master Catton - AUBER Song - The Wanderer, Dr. Wilkinson - SCHUBERT Ballad - "The heart bow'd down (Bohemian Girl) Mr. Charles Turner - BALFE Solo - Flute, Mr. Colquhoun, Pianoforte accompaniment - KUHLAU Irish Ballad - Cushla Machree, Master Catton - LAVENU Aria - "Tu che a Dio" (Lucia di Lammermoor) Mr. Tucker - DONIZETTI Duett - "The Convent Bells," Master Catton and Mr. Shadforth - GLOVER Solo - Mr. Beech and Chorus - Lily Dale - ETHIOPIAN MELODY An interval of ten minutes. PART SECOND. Glee - "To all ye Ladies" - CALLCOTT Air - "Childhood's truant days" (Joseph) Master Catton - MEHUL Scotch Ballad - Annie Laurie - Mr. H. Lenean  Aria - "Vi ravviso" (Sonnambula) Mr. Tucker - BELLINI Solo - Flute, Mr. Colquhoun, Pianoforte accompaniment - BERBISCIER Aria - (by desire) "Ah! perche non posso!" (Sonnambula) Master Catton, Violin accompaniment - BELLINI Ballad - "In happy moments" (Maritana) Mr. Charles Turner - WALLACE Morceau de Concert - "Le Carnival de Venise" Violin Solo - Mr. Brown, Pianoforte accompaniment - SIVORI Song - (Guitar accompaniment) - "Oh! breathe not a word of our love," Dr. Wilkinson - RIPPINGILL [sic] Grand Finale - Solo, Duett, and Chorus - God save the Queen . . .
ASSOCIATIONS: Charles Turner (vocalist); Charles Catton (vocalist); George Colquhoun (Flute); James Brown (violinist)
MUSIC: The wanderer (Schubert); Oh! breathe not a word of our love, the poetry written by E. V. Rippingille; the music composed & dedicated to his friend Mr. Sigmont by M. Andre Schultz
[Advertisement], Bathurst Free Press and Mining Journal (25 November ), 3
http://nla.gov.au/nla.news-article62047198
ROYAL VICTORIA THEATRE, DURHAM-STREET. UNDER the auspices of the President, Officers, and Committee of the Bathurst School of Arts, and Mechanics' Institute. A GRAND AMATEUR CONCERT. In aid of the Fund now being raised to meet the Government Grant for a building, for the purposes of the School of Arts, will be given at the above Theatre, on THURSDAY EVENING, THE 26TH NOVEMBER, 1857. PROGRAMME. PART FIRST. Glee - Glorious Apollo - WEBBE Cavntina - "Oh! whisper what thou feelest" (Crown Jewels) Master Catton - AUBER Song - The Wanderer, Dr. Wilkinson - SCHUBERT Ballad- "Gone is the calmness" (Matilda of Hungary) Mr. Charles Turner - WALLACE Solo - Flute, Mr. Colquhoun, Pianoforte accompaniment - KUHLAU Irish Ballad - Cushla Machree, Master Catton - LAVENU Song - The Standard Bearer, Mr. Lequeux - LINDPAINTER Aria - "Tu che a Dio" (Lucia di Lammermoor) Mr. Tucker - DONIZETTI Duett - The Convent Bells, Master Catton and Mr. Shadforth - GLOVER Solo - Master Catton, and Chorus - Lilly Dale - ETHIOPIAN MELODY An interval of ten Minutes. PART SECOND. Glee - "To all ye Ladies" - CALLCOTT Air - "Childhood's truant days" (Joseph) Master Catton - MEHUL Song - "When other lips" (Bohemian Girl) Mr. Beech - BALFE Ballad - Madoline, Mr. Shadforth - LINLEY Solo - Flute; Mr. Colquhoun, Pianoforte accompaniment - BERBIGUIER Aria - (by desire) "Ah! perche non posso" (Sonnambula) Master Catton, Violin accompaniment - BELLINI Ballad - "I dreamt I was a child again" Mr. Tucker - BARKER Air - "In happy moments" (Maritana) Mr. Charles Turner - WALLACE Song (Guitar accompaniment) - "Oh! breathe not a word of our love," Dr. Wilkinson - RIPPINGILL Grand Finale - Solo, Duett, and Chorus - God save the Queen . . .
"PHILHARMONIC SOCIETY", Bathurst Free Press and Mining Journal (4 September 1858), 2
http://nla.gov.au/nla.news-article64377404
In pursuance of an advertisement which appeared in our columns on Wednesday last, a meeting took place at the Daniel O'Connell Inn, on Thursday evening, with a view to the organisation of a Philharmonic Society in this town. The attendance was not so numerous as had been expected by the promoters of the project, but this deficiency was attributable rather to the fact that an important meeting, connected with the building of the School of Arts, had been fixed for the same evening, than to any want of interest in the object of the evening. Among those assembled we observed S. B. Serjeant, Esq., who occupied the chair, Dr. Machattie, Dr. Wilkinson, Messrs. Farrand, Wilton, Robinson, Hansard, Atkins, Lowe, &c., &c.. Apologies for non-attendance were also received from many other influential residents of the town and neighbourhood. The proceedings of the evening were characterised by the greatest unanimity, and resolutions were carried, which will be found in our advertising columns, embodying the Society, and giving it "a local habitation and a name" among the institutions of our good town. The Honorary Secretary was empowered to place himself in communication with the Secretary of the Sydney Philharmonic Society, with a view to obtain a copy of its rules &c. for the guidance or the Committee, and the meeting was adjourned until the 16th instant, to receive the report of the Committee; in the mean time circulars will be addressed to parties likely to co-operate in the objects of the Society, requesting their assistance and support. We heartily trust the appeal will be responded to with alacrity. No valid reason can be assigned why this town should not take as high a rank in the study of the musical art as those of Maitland, Brisbane, and Goulburn; but it must be remembered that such a consummation can only be achieved by the mutual cooperation of those whom God has endowed with the talents requisite for such exertions, and of those who are provided by the same bounteous hand with worldly means, best employed when dedicated to the amelioration of their fellow men.
ASSOCIATIONS: Sydney Philharmonic Society (organisation)
"PHILHARMONIC SOCIETY", Bathurst Free Press and Mining Journal (25 May 1859), 2
http://nla.gov.au/nla.news-article63597276
On Thursday evening last in pursuance of an advertisement which had been placed in both the papers, a public meeting was held in the Court House, for the purpose of initiating a Philharmonic Society for the study and practice of vocal and instrumental music in this town. The evening was respectably, and considering the tempestuous state of the weather, numerously attended; between one and two hundred persons being present, including a sprinkling of ladies, and the proceedings were characterised throughout by the best possible feeling. At 8 o'clock Mr. Farrand rose and proposed that S. B. Serjeant, Esq., should take the Chair, and this resolution having been seconded by Mr. McGuigan, was carried unanimously. Mr. Serjeant . . . did not desire to detain the Meeting with a long speech, as there were several gentlemen present, who would have something to say on the subject during the evening . . . Philharmonic Societies had been established with great success in Maitland, Goulburn, Ipswich and Brisbane, and he could not see why Bathurst should be without such an institution. He would not occupy their time any longer with any remarks of his, but would at once call upon Dr. Wilkinson to propose the first resolution.
Dr. Wilkinson expressed his regret that the resolution had not fallen into better hands; it was only late on the preceding night that he had been requested to move it, and he felt that he was not able to do it the justice it deserved. Dr. Wilkinson then read the resolution, which ran as follows: "That this meeting, recognizing the great social benefits derivable from the pursuit of the musical art, both vocal and instrumental, deems it expedient to organise a Society having for its object the study and practice of that art in the town of Bathurst, to be designated, 'The Bathurst Philharmonic Society.'" As he had stated, he was totally unprepared to make any lengthy or elaborate remarks, but as far as he was able to collect his thoughts on the principal points in connection with the subject of music, he would try to give them as simply as possible. First, he would remind them that in the establishment of such a Society, and in the study and practice of music, they would meet on a neutral ground. Any difference in their religions and political creeds would be totally out of place; the only contention which would arise would be the contention for excellence in the musical art. (Cheers.) It was unnecessary for him to point out the advantages which might reasonably be anticipated from such an harmonious feeling amongst us. The social advantages of an institution of this nature were also very important, and it was much to be regretted that too little attention had been paid in this Colony to the cultivation of an art which added so much to the charms of our daily existence. Their great object would be to attract the young men and women of the community to the study and practice of music as to a most healthful and invigorating employment, and he hoped that as great a desire for the cultivation of the "tuneful art" would soon become as universal in Australia as it was in England. It was true that the late concerts had been failures, but they had this redeeming feature, that they were failures in a good cause, and those who took part in them might be well content to bear with a little ridicule under such circumstances. (Cheers.) He hoped, however, that in future their concerts would be altogether successful. He considered it to be the duty of all to endeavour to instil into the minds of the young people of this Colony the importance of this great and glorious art, and he believed that by the establishment of a Philharmonic Society they would create an immense impetus in that direction. The refining influences of music were indisputable, and he believed that more good had been done to the human family by music, than by any other science or art. Music, too, was universal, and throughout all animated nature this was observable; the very feathered songsters, though not so numerous, and perhaps not so melodious as at home, gladden the ear at early dawn by their sweet voices and perfect modulations, but in this instance there was this difference, that their efforts were spontaneous, while our efforts were the result of teaching and labourious training. No doubt to be a musician it was necessary to study, but he knew from experience that it was a most pleasant study, and every lesson repaid in pleasure what it cost in time and toil. He believed that all the great musical composers whose works still continued to delight the world were among the chief benefactors of the human race; - he need only call to mind the magnificent compositions of Handel and Haydn, of Mozart and Beethoven, to prove his assertion . . .
ASSOCIATIONS: Bathurst Philharmonic Society (organisation); Ipswich Choral Society (organisation); Brisbane Choral Society (organisation)
"TOWN TALK", Gippsland Times (12 May 1866), 3
http://nla.gov.au/nla.news-article61204345
We regret to announce the death by fever of Dr. Wilkinson of Sale, on Friday afternoon. It appears that he had been ailing for some time, and that anxiety to attend to his professional duties prevented his affording himself the requisite care and attention. Dr. Wilkinson has been only a short time amongst us, but during his brief sojourn succeeded in gaining numerous friends, who will regret his untimely decease. We are glad to be enabled to add that there are symptoms of this serious epidemic subsiding.
"DEATH OF DR. WILKINSON, LATE OF BATHURST", The Maitland Mercury and Hunter River General Advertiser (2 June 1866), 4
http://nla.gov.au/nla.news-article18721868
Our readers will be sorry to hear of the decease of this gentleman. It appears that the Doctor had for some time resided in Albury; but in consequence of ill health had retired to Sales [sic] in Victoria. A species of low fever, supervening, Dr. Wilkinson gradually sunk under it, and expired at Sales, leaving a widow and six children to lament their loss; and who we are credibly informed are left in needy circumstances. During the time Dr. Wilkinson resided in Bathurst, he, both as a citizen and a medical man, secured many friends; and we have no doubt they will feel ready to answer any appeal which may be made to them, in favour of the bereft family. - Bathurst Free Press, May 30.
"Mr. John Wilkinson", The Sydney Mail and New South Wales Advertiser (20 April 1889), 800
http://nla.gov.au/nla.news-article161933765
Mr.. John Wilkinson, the senior partner in the firm of Wilkinson and Wilkinson, solicitors, Albury, is the son of the late Dr. Henry Wilkinson, F.R.C.S., London. Mr. Wilkinson has lived in Albury from his boyhood . . . Mr. Wilkinson is the vice-president of the Albury Mechanics' Institute, president of the Albury branch of the Australian Natives' Association, and holds her Majesty's commission as captain of the Albury Volunteers. He is 34 years of age, and resides with his wife and family in Albury . . .
"MAJOR JOHN WILKINSON", The Albury Banner and Wodonga Express (16 February 1900), 26
http://nla.gov.au/nla.news-article99854830
Mr. John Wilkinson, honorary Major of the 1st Infantry Regiment, is one of the best known of Albury's citizens, having resided and labored in the federal city since his early boyhood. Although not a native-born Australian, he is to all intents and purposes one, since the best part of his life has been spent in Albury. He was born at Sheerness in Kent, where his father, the late Dr. Henry Wilkinson, F.R.C.S., London, practised before coming to the colonies. Soon after his arrival in Melbourne, Dr. Wilkinson decided upon Albury as the place in which to practise his profession, and there are still a number of old residents who remember with respect the genial doctor. He died in 1868 [recte 1866]. . .

Bibliography and resources:
[Advertisement] The connoisseur: an illustrated magazine for collectors (October 1965), xxii-iii
https://archive.org/details/connoisseurillus160lond/page/n191/mode/2up (DIGITISED)
Black and white reproductions Wilkinson's sketches, Sydney Harbour, 1856; and Sydney Heads from Botany Bay [sic], 1855
Adrian Bury, "In the galleries . . . Antipodean", The connoisseur: an illustrated magazine for collectors (October 1965), 116
https://archive.org/details/connoisseurillus160lond/page/116/mode/2up (DIGITISED)
. . . There are some sketches of Botany Bay by Henry Wilkinson . . .
"Henry Wilkinson", Design & art Australia online (DAAO)
https://www.daao.org.au/bio/dr-henry-wilkinson/biography
Mr. John WILKINSON, NSW Parliament
https://www.parliament.nsw.gov.au/members/Pages/member-details.aspx?pk=964

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Willis Frederickview full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
WILLIS, Frederick (Frederick WILLIS)
Artist, painter, amateur actor
Born c. 1824; son of John WILLIS Arrived Sydney, NSW, 25 May 1849 (per Agenoria, from London, 30 January, aged "25")
https://trove.nla.gov.au/search?l-publictag=Frederick+Willis+artist (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-1484906 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-W-3.php#WILLIS-Frederick (shareable link to this entry)

Summary:
Augusta Huttmann was a daughter of William Huttmann, a noted London-born linguist, orientalist, and sinologist, "teacher of Chinese and oriental languages", secretary to the Royal Asiatic Society in 1830, and a member of the Royal Geographical Society. He was also proprietor and editor of the shortlived London journal, The South Australian Colonist and Settlers' Weekly Record of British, Foreign and Colonial Intelligence, which ran from April to July 1840. William's brother John Henry Huttmann was a noted London chess player.
At the time of the 1841 English census, Augusta was aged 14, a "flower maker", living with her father and stepmother, Susan Goldsmith.
At St. Paul's, Covent Garden, on 5 March 1848, she married Frederick Willis, an artist, and on 30 January the following year the couple sailed for New South Wales, as assisted emigrants on the Agenoria.
Having arrived in Sydney on 25 May, Augusta made her colonial debut as an actor at the Royal Victoria Theatre in August, and as a dancer in October.
She gave birth to a daughter, Fanny, in Sydney on 1 September 1850. However, on the child's death, aged "4", in Victoria in 1855, registered as "Fanny Hydes", the listed father (whether natural or the stepfather) was the actor and comedian John Proctor Hydes.
Hydes was in the Victoria company at the time Augusta joined it, and in January 1852 they played as joint leads in what turned out to be her last Sydney performances. At the end of the month, Augusta and Hydes sailed for Melbourne, only to reappear in March at the Theatre Royal, Geelong, billed as Mr. and Mrs. J. P. Hydes.
Augusta probably continued to appear with Hydes as Mrs. Hydes at least until 1855 in Melbourne, and perhaps as late as early 1858 in Ballarat.
Thereafter, the first "Mrs. Hydes" disappears from record, in due course to be replaced in the "role" by Harriet Gordon. It is perhaps possible, however, that Augusta was the Miss Julia Huttmann [sic] billed to appear as a actor and dancer in Adelaide in September 1858.

Documentation:
England census, 6 June 1841, Tottenham, St. Pancras, Middlesex; UK National Archives, HO107/686/15/16/49/39
https://www.ancestry.com.au/imageviewer/collections/8978/images/MDXHO107_686_687-0306?pId=7484253 (PAYWALL)
Burton Street / William Hutman / 52 / Linguist / [not born in county] // Susan / 32 // Augusta Hutman / 14 / Flower Maker / [not born in county]
1848, marriage solemnized at the parish church in the parish of St. Paul Coven Garden in the county of Middlesex; register 1845-54; City of Westminster Archives
https://www.ancestry.com.au/imageviewer/collections/61867/images/61865_314054001181_18327-00075 (PAYWALL)
No. 134 / March 5 / Frederick Willis / of full age / Bachelor / Artist / [of] James Street / [son of] John Willis / Artist Augusta Margurite Huttmann / of full age [sic] / Spinster / - / James Street / [daughter of] William Huttmann / Linguist . . .
Assisted immigrants per Agenoria, 1849; Biographical database of Australia (BDA)
https://www.bda-online.org.au/mybda/searchAdv/biographical-report/10161877001 (PAYWALL)
. . . Frederick Willis / 25 // Augusta Willis / 21 . . .
"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (21 August 1849), 2
http://nla.gov.au/nla.news-article12902340
THIS EVENING, AUGUST 21, 1849 . . .  To conclude with the laughable farce of A LOVER BY PROXY. Harry Lawless, Mr. Hydes; Mr. Bromley, Mr. Rogers; Squib, Mr. F. Howson;  Peter Blushington, Mr. Spencer; Kate Bromley, Mrs. Willis - her second appearance; Harriett, Madame Carandini.
ASSOCIATIONS: John Proctor Hydes (actor, vocalist); George Herbert Rogers (actor, vocalist); Frank Howson (actor, vocalist); Albert Spencer (actor); Maria Carandini (actor, vocalist); Royal Victoria Theatre (Sydney venue)
"THE THEATRE", The People's Advocate and New South Wales Vindicator (15 September 1849), 4
http://nla.gov.au/nla.news-article251539064
. . . Mrs. Willis, by the way, seems well initiated in the vocation of the boards; and if she he not a tearer of passion to the very "rag," she has quite enough of animation and spirit to get through a very quiet, professional, easy maniere in conniere, and the parts "set down" for her. If she be not of the ardent and "bow and dagger" school, she is quite prepossessive enough of feminine qualities to he an acquisition to a theatrical corps, and progressive of success . . .
"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (18 October 1849), 2
http://nla.gov.au/nla.news-article12908017
THIS EVENING, OCTOBER 18, Will be presented the NIGHT DANCERS, Albert, Mr. J Howson; Fridolin Mr. F. Howson; Bertha, Madame Carandini; Giselle, Mrs. Guerin.  A grand medley dance, by Mrs. F. Willis, her first appearance as a dancer . . .
ASSOCIATIONS: John Howson (actor, vocalist); Theodosia Guerin (actor, vocalist)
MUSIC: The night dancers (opera by E. J. Loder)
"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (1 January 1850), 2
http://nla.gov.au/nla.news-article28645874
THIS EVENING, JANUARY 1, Will be presented the Pantomime of KING PIPPIN; OR, HARLEQUIN VALENTINE, AND THE WILD MAN OF THE WOODS. King Pippin, Mr. Rogers; Henry, Mr. Hydes; Valentine, Mrs. Guerin;  Orson, Mr. F. Howson; Agramant, Mr. Spencer; the Princess Eglantine, Madame Carandini;  Agatha, Mrs. Rogers; Belisanta, Mrs. Gibbs; Florimonda, Mrs. F. Willis;  Harlequin, Signor Carandini; Clown, Mr. Torning; Pantaloon, Mr. Hollis; Columbine, Madame Torning . . .
ASSOCIATIONS: Emma Rogers (actor, vocalist, dancer); Eliza Gibbs (actor, vocalist); Gerome Carandini (dancer); Andrew and Eliza Torning (actors, dancer)
"THE DRAMA" Bell's Life in Sydney and Sporting Reviewer (19 January 1850), 3
http://nla.gov.au/nla.news-article59770064
In consequence of the sudden indisposition of Mrs. Guerin, the opera of the Bohemian Girl (the announcement of which attracted a fashionable circle at the Victoria Theatre on Thursday evening) was withdrawn, and the farces of "Used Up," and "Tom Noddy's Secret," were substituted. The novelty of the evening was an exquisitely ludicrous farce entitled "The Man without a Head," which, by the aid of Frank Howson, Hydes, Madam Carandini, Mrs. Willis, and Mrs. Torning, elicited shouts of laughter throughout. We cannot omit reference to the very satisfactory manner in which Mrs. Willis, at a few moments' notice, undertook the part previously sustained by Mrs. Guerin in "Used Up." This young lady's rapid progress in the art and mystery of the "boards" is alike surprising and commendable. She has successfully studied to attain that ease of deportment and carriage, the essential requirements of the finished actress, and we cordially congratulate her on having so triumphantly overcome the principal obstacles to professional advancement. On Mondny next we perceive that the famous spectacle of "Tekeli, or the Siege of Montgatz," will be produced with all the original music.
"GROCOTT'S ART UNION", The Sydney Morning Herald (2 March 1850), 3
http://nla.gov.au/nla.news-article12916113
The following is a list of the prizes which were awarded by the gentlemen who undertook the task of judging of the comparative merits of the paintings sent in for competition to Grocott's Art Union: -  To H. R. Smith, for historical or composition picture in oil, £30; to F. Willis, for the best landscape in oil, £20 . . .
ASSOCIATIONS: James Turner Grocott (musicseller, artseller)
"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (9 May 1850), 2
http://nla.gov.au/nla.news-article12917774
MRS. FREDERICK WILLIS' BENEFIT, THIS EVENING, 9TH MAY. FIRST SHAKSPERIAN NIGHT OF THE SEASON. First and only appearance of MR. F. WILLIS. Mrs. F. Willis, in making her first appeal to the liberality of a Sydney Audience . . . The Evening's Entertainments will commence with (for the first time these six years,) Shakspeare's admired Tragedy, in five Acts, called ROMEO AND JULIET. . .  PARIS, Mr. F. WILLIS . . . ROMEO, Mrs. F. WILLIS; Benvolio, Mr. Willis . . . Juliet, Mrs. Guerin . . .
"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (13 May 1850), 2
http://nla.gov.au/nla.news-article12917895
MR. AND MRS. ROGERS' BENEFIT, MONDAY EVENING, MAY 13 . . . A Normandy Clog Dance, by Mrs. F. Willis . . .
[Advertisement], The Maitland Mercury and Hunter River General Advertiser (20 July 1850), 3
http://nla.gov.au/nla.news-article691746
CATALOGUE OF PRIZES IN GROCOTT'S ART UNION . . .  6. "Roadside Scene near Richmond," painted by Mr. F. Willis expressly for the Art Union. Size, 4 feet 6 in. x 3 feet 6 in. [value] - 15 Guineas . . .
"COLONIAL ARTS", The Sydney Morning Herald (NSW : 1842 - 1954), 20 July 1850), 5
http://nla.gov.au/nla.news-article12919592
There are several paintings by colonial artists now on view at Grocott's, which are well worth a visit . . . An artist named Willis, who is, we believe, a recent arrival in the colony, paints cattle pieces with considerable effect; on a previous occasion we had to notice one of his paintings, a scene on the Penrith Road, and there is a similar subject in this exhibition, a scene near Richmond, with a bullock team, which we very much admire; the colouring of the landscape is rather raw, but the drawing is admirable, and the cattle are very nicely done . . .
"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (1 October 1850), 2
http://nla.gov.au/nla.news-article12921458
THIS EVENING, OCTOBER 1, WILL be presented the Drama entitled THE STRANGER; OR, MISANTHROPY AND REPENTANCE . . . Claudine, Mrs. F. Willis. In the course of the piece, Mrs. F. Willis will sing the original songs of "To welcome Mirth and Harmless Glee," and "I have a Silent Sorrow Here" . . .
MUSIC: Songs introduced into Sheridan's adaptation of Kotzebue's The stranger: I have a silent sorrow here and To welcome mirth and harmless glee (by Thomas Shaw and/or Georgiana Cavendish)
"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (13 February 1851), 2
http://nla.gov.au/nla.news-article12924766
FOR THE BENEFIT OF MR. ARABIN. THIS EVENING, FEBRUARY 13 . . . Pas de Deux, the Misses Griffiths. Pas Suel, Miss Hart. Mazourka, Mrs. F. Willis . . .
ASSOCIATIONS: Gustavus Arabin (actor); Fanny and Emily Griffiths (dancers); Margaretta Hart (dancer)
[Advertisement], Empire (19 February 1851), 4
http://nla.gov.au/nla.news-article60032796
ROYAL VICTORIA THEATRE . . . THURSDAY EVENING, 20th FEBRUARY, FOR THE BENEFIT OF Mrs. ROGERS . . . Mrs. Guerin, Mrs. Rogers, Madame Torning, and Mrs. F. Willis, will appear as the  FEMALE ETHIOPIAN SERENADERS! and sing a variety of popular Melodies, concluding with De Celumbrated Railway Gallop . . .
MUSIC: The railway galop (Josef Gungl)
[Advertisement], Bell's Life in Sydney and Sporting Reviewer (22 February 1851), 3
http://nla.gov.au/nla.news-article59772068
Royal Victoria Theatre. Monday Evening, 24th February, 1851. FOR THE BENEFIT OF MR. F. HOWSON. Production of Auber's celebrated Opera of MASANIELLO . . . The "Celebrated Pas de Folies," from Gustavus III., Miss Hart and Mrs. F. Willis . . .
MUSIC: Pas de folies (Auber, from Gustavus III, act 5)
"Royal Victoria Theatre", Bell's Life in Sydney and Sporting Reviewer (15 March 1851), 2
http://nla.gov.au/nla.news-article59772196
This Evening, March 15, 1851 Will be produced the admired Opera, entitled THE SIEGE OF ROCHELLE . . . Cynthia, Mrs. F. Willis . . . Double Hornpipe, Madame Torning and Mrs. F. Willis . . .
MUSIC: The siege of Rochelle (Balfe)
Baptisms solemnized in the parish of St. James, Sydney, in the year 1851; Biographical database of Australia (BDA)
https://www.bda-online.org.au/mybda/searchAdv/biographical-report/30311261302 (PAYWALL)
29 August 1851 / born 1 September 1850 / Fanny Alithea / [daughter of] Frederick & Augusta Margaret / Darlinghurst / Artist / [officiant] Robert Allwood
"THE VICTORIA THEATRE", Empire (4 November 1851), 3
http://nla.gov.au/nla.news-article60124964
Mrs. Frederick Willis took her benefit on Thursday; the entertainments consisted of She Stoops to Conquer and The Rifle Brigade, with some intervening musical performances . . .
"THE VICTORIA THEATRE", Empire (10 January 1852), 3
http://nla.gov.au/nla.news-article60126839
. . . The pleasant farce of Cousin Cherry has been several times repeated. Would that we could shower bouquets of amaranth and fling baskets of asphodel at the feet of Mrs. Willis, night after night, as she smiles and prattles in Widow Cherry. The actress has made the part perfectly her own. We have never seen a more charming impersonation of farcical character. Mr. Hydes sustained Charles. In this line, he is without a rival . . .
"DEPARTURES", The Shipping Gazette and Sydney General Trade List (31 January 1852), 34
http://nla.gov.au/nla.news-article161035606
January 24. - Empire, schooner, 73 tons, Captain Brown, for Melbourne. Passengers: - . . . Mr. and Mrs. Hydes . . .
[Advertisement], Geelong Advertiser and Intelligencer (22 March 1852), 3
http://nla.gov.au/nla.news-article91927150
THEATRE ROYAL, GEELONG. Under the sole management of Mr. Deering. Tuesday will be the First Night of LOLA MONTES. TRIUMPH OF TALENT! Mr. and Mrs. Hydes every Evening . . . ON TUESDAY, MARCH 23, The Performances will commence with LOLA MONTES' PAS DE FASCINATION. Supported by Mr. and Mrs. Hydes and the entire strength of the Company . . .
ASSOCIATIONS: Henry Deering (actor, manager); Lola Montez (dancer); Theatre Royal (Geelong venue)
"QUEEN'S THEATRE", The Argus [Melbourne, VIC] (14 October 1854), 5
http://nla.gov.au/nla.news-article4798969
Buckstone's capital comedy "Married Life" was exhibited last evening to a full house . . . The characters personified by Mr. Rogers, Mr. and Mrs. J. P. Hydes, and Mr. and Mrs. C. Young, are in best style of comedy . . .
ASSOCIATIONS: Charles and Jane Young (actors, manager); Queen's Theatre (Melbourne, venue)
"ROLLA OF OURS", The Argus (12 January 1855), 4
http://nla.gov.au/nla.news-article4803008
Mr. Akhurst's piece continues to attract crowded audiences . . . Mrs. Young and Mrs. Hydes infused even more than the usual spirit of these ladies into the parts of Cora and Elvira . . .
ASSOCIATIONS: William Mower Akhurst (author, dramatist)
"BOXING DAY. PUBLIC AMUSEMENTS . . . QUEEN'S THEATRE", The Argus (27 December 1854), 4
http://nla.gov.au/nla.news-article4802293
. . . "Riddle-Me-Riddle-Me-Ree, or Harlequin and Conundrum Castle," is the name of the pantomime, and . . . is from the pen of Nelson Lee, the veteran author of compositions of this description . . . A fairy scene is next presented to the audience, and the entrance of the principal immortal, in person of Mrs. Hydes, whose appearance in a car drawn by two swans, evoked tremendous plaudits . . .
ASSOCIATIONS: Richard Nelson Lee (English dramatist)
"THE MONTEZUMA", The Star [Ballarat, VIC] (29 June 1857), 3
http://nla.gov.au/nla.news-article66042913
This theatre was re-opened last Monday evening under the management of Mr. J. P. Hydes . . . Mr. Warde in Wild Eric was forcible. Messrs. Hydes and Ray kept the house in a perpetual state of effervescence, with their jocularities and facetious dresses. Mesdames Ray, C. Walsh, Dale and Hydes, played their respective roles with really good taste, as the audience seemed to think by their repeated applause of their efforts. Mrs. Hydes dressed her part capitally . . .
ASSOCIATIONS: Con Warde (actor); Elinor Dale (actor); Montezuma Theatre (Ballarat venue)
? "VICTORIA THEATRE", The South Australian Advertiser [Adelaide, SA] (4 September 1858), 2
http://nla.gov.au/nla.news-article782995
The new season will commence on Monday next . . . Mr. Henderson, the lessee, who returned from Melbourne by the Havilah, has been extremely successful in securing additional talent. The Chambers' Family, a host in themselves, will appear on Monday. The services of Miss Julia Huttmann, a very accomplished and versatile actress and danseuse, have been secured . . .
ASSOCIATIONS: Joseph Chambers and family (dancers); Victoria Theatre (Adelaide venue)
? "VICTORIA THEATRE", South Australian Register (14 September 1858), 3
http://nla.gov.au/nla.news-article49780746
"Rob Roy" was produced last night to a good audience. Mr. Mungall was of course, the principal object of attraction, and enacted his character in a most successful manner. Mr. Chambers took the part of the Dugal Creature, and Miss Julia Hattmann [sic] that of Francis Osbaldiston. An amusing Chinese dance by Mr. and Miss Chambers followed, and was loudly applauded. The entertainment concluded with the farce of "The Clockmaker's Hat," in which Miss Hattman, who is getting quite a favourite, and Mr. Greville, kept the house in continual merriment until its conclusion.
ASSOCIATIONS: John Mungall (actor); Joseph and Amy Chambers (dancers, actors); John Rodger Greville (actor, comedian)

Documentation:
"OBITUARY. Mr. William Huttmann", The Asiatic journal and monthly miscellany (November 1844 to April 1845), 104-05
https://books.google.com.au/books?id=gChGAAAAcAAJ&pg=PA104 (DIGITISED)
"F. Willis", Design & art Australia online (DAAO)
http://nla.gov.au/nla.party-1484906

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Winstanley Williamview full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
WINSTANLEY, William (William WINSTANLEY; W. WINSTANLEY; Mr. WINSTANLEY)
Artist, theatrical artist
Born Liverpool, Lancashire, England, 18 November 1788; baptised St. Nicholas, Liverpool, 8 December 1788; son of Edward WINSTANLEY (1762-1830) and Jane HALLPIKE (1760-1828) Married Elizabeth FINCH (1795-1867), All Saints, Wigan, 31 March 1817 Arrived Sydney, NSW, 2 May 1833 (per Adventure, from Liverpool, 21 September 1832, via Hobart Town, 28 April) Died Sydney, NSW, 7 February 1842
https://trove.nla.gov.au/search?l-publictag=William+Winstanley+1788-1842 (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-1485081 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-W-3.php#WINSTANLEY-William (shareable link to this entry)
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Wivell Edward James photographerview full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:

WIVELL, Edward James (Edward James WIVELL; E. J. WIVELL)
Dancing master, professor of dancing, teacher of music, photographer
Born London, England, 6 March 1833; baptised St. Pancras, 6 June 1833; son of Abraham WIVELL (1786-1849) and Harriet TILBURY (1804-1885) Arrived Melbourne, VIC, 27 December 1855 (per Gipsy Bride from Liverpool, 15 September) Married Mary MULREADY (c. 1840-1893), Fitzroy, VIC, 23 December 1863 Arrived Adelaide, SA, by 1867 Died Adelaide, SA, 16 December 1909
https://trove.nla.gov.au/search?l-publictag=Edward+James+Wivell+1833-1909 (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-503313 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-W-3.php#WIVELL-Edward-James (shareable link to this entry)
Edward James Wivell, professor of dancing (State Library of South Australia)
http://images.slsa.sa.gov.au/mpcimg/59250/B59012.htm (DIGITISED)

Summary:
Edward James Wivell was born in London on 6 March 1833, a son of the artist and portrait painter Abraham Wivell and his second wife Harriet Tilbury.

Documentation:
Baptisms solemnized in the parish of Saint Pancras in the county of Middlesex in the year 1833; register 1832-34, page 278; London Metropolitan Archives
https://www.ancestry.com.au/discoveryui-content/view/1736232:1558 (PAYWALL)
No. 906 / 1833 June 6th / Edward James / [son of] Abraham & Harriet / Wivell / Edward Street / Artist . . . / [born] 6 March
England census, 30 March 1851, Lady Wood, Birmingham; UK National Archives, HO107/2051/29/2
https://www.ancestry.com.au/imageviewer/collections/8860/images/WARHO107_2051_2051-0054?pId=9074588 (PAYWALL)
5 King Alfreds Place / Harriet Wivell / Head / Widow / 46 / . . . Caroline / 22 // Emily / 20 / Daurs. // Edward Wivell / Son / 18 / Printer [? Painter] / [born] London . . .
Names and descriptions of passengers per Gipsy Bride from Liverpool 15 September 1855 for Melbourne, 27 December 1855; Public Record Office Victoria
https://prov.vic.gov.au/archive/3AFC5433-F96C-11E9-AE98-217934D1FC21?image=242 (DIGITISED)
. . . Edward J. Wivell / 18 / Painter . . .
[Advertisement], The Argus (27 August 1856), 8
http://nla.gov.au/nla.news-article7135546
PORTRAITS for all Tastes and Every Purpose, taken by Johnstone and Wivell, 86 Collins-street east.
ASSOCIATIONS: Henry James Johnstone (artist, photographer)
[Advertisement], The Argus (26 September 1857), 8
http://nla.gov.au/nla.news-article7139296
DANCING. - FITZROY ASSEMBLY HALL, Napier-street, Collingwood. - Mr. WIVELL'S Select QUADRILLE CLASS meets every MONDAY EVENING -  Ladies admttted by tickets, to be had on application at the Hall at eight o'clock. Munyard's full Quadrille Band. Admission, 2s. 6d.
ASSOCIATIONS: John Munyard (musician)
[Advertisement], The Argus (4 January 1858), 7
http://nla.gov.au/nla.news-article7144487
TUITION in DANCING. - Messrs. WIVELL and HARDMAN will give INSTRUCTION in DANCING, comprising all the new and popular dances, including La Varsovianna, Labitzka, Rowda [sic, Redowa] Valse Deux Temps, Quadrilles, &c.,  at the Hanover Rooms, Swanston-street, every Wednesday evening, from 8 to 10 o'clock.  Those ladies and gentlemen who intend honoring them with their support will obtain all information upon application at the Rooms on the Assembly nights, or of Mr. Wivell, 100 Russell-street.
ASSOCIATIONS: Daniel Hardman (musician)
[Advertisement], The Argus (14 February 1859), 8
http://nla.gov.au/nla.news-article7309788
PANTHEON ASSEMBLY ROOMS, open Mondays, Thursdays, and Saturdays, under entire new management. Messrs. Munyard and Taylor's full string band. Tuesday, Tuition Class Mr. Wivell, Principal.
[Advertisement], The Argus (18 July 1859), 8
http://nla.gov.au/nla.news-article5684662
MR. WIVELL'S ASSEMBLY-ROOMS, Fitzroy-street, Collingwood. -  A SELECT BALL of pupils and friends THIS EVENING, dancing to commence as usual. This spacious Assembly Hall is now completed, and will open this evening with an augmented band.  The decoration of the ballroom has been under the immediate superintendence of Mr. Stocqueler. The band will be efficient, under the direction of Mr. Munyard.  Notice - Ladies will require the new Assembly Card, else admittance will be refused them.  Tickets, 5s. Mr. Wivell, conductor.
ASSOCIATIONS: Edwin Stocqueler (artist)
[2 advertisements], The Argus (22 August 1859), 8
http://nla.gov.au/nla.news-article5686711
DANCING - LADIES' DAY and EVENING CLASSES for CALISTHENICS, drill, deportment, &c. Mr. Wivell, Fitzroy-street, Collingwood.
MR. WIVELL, TEACHER of DANCING, Fitzroy-street, Collingwood. Private lessons in fashionable dances during the day, with the privilege of practising with a lady.
[News], The Argus (15 October 1859), 4
http://nla.gov.au/nla.news-article5690030
The ball at the Exhibition Building yesterday evening may fairly be considered as a successful finale to the great Caledonian Gathering, which has just taken place. The attendance of Highlanders, in full costume, was, on the whole, of average merit, although certainly far less than was anticipated. The unpropitious state of the weather doubtless had the effect of lessening the number of those who would otherwise have been present. Altogether, we should say, there were about 400 persons taking part in the amusements, of which number the ladies constituted a fair proportion. The dancing commenced with much spirit shortly after 9 o'clock, the ball being opened with a lively quadrille. The scene presented by the gay appearance of the various tartans worn by the Campbells, McGregors, McLeods, McDougalls, McKenzies, Grants, Stuarts, and Forbes was certainly very animating, and exhibited to advantage in the Caledonians, Highland schottisches, and Scots reels, in which the costume was peculiarly effective. The dancing was under the superintendence of Mr. E. J. Wivell. Winterbottom's band was in attendance, and gave general satisfaction . . .
ASSOCIATIONS: John Winterbottom (musician)
[2 advertisements], The Argus (13 February 1860), 7
http://nla.gov.au/nla.news-article5677088
DANCING. - Mr. WIVELL. teacher, 80 Fitzroy-street, Collingwood . . .
MESSRS. WIVELL and TAYLOR, PROFESSORS of DANCING, Deportment, Marching, Fencing, &c., 80 Fitzroy-street, Collingwood.
[Advertisement], The Argus (8 October 1860), 8
http://nla.gov.au/nla.news-article5691153
MR. WIVELL, TEACHER of DANCING, &c., (pupil of Mademoiselle and Mons. Gilmour) Academie, Fitzroy-street, Collingwood.
"THE NEWS OF THE DAY", The Age (20 May 1864), 5
http://nla.gov.au/nla.news-article155013261
A volunteer ball, under the patronage of the Colonel-Commandant, the volunteer staff, and a committee consisting of commissioned and non-commissioned officers, came off last night at the orderlyroom, Eastern hill . . . The company commenced to assemble a little before nine o'clock, and shortly after that hour dancing commenced to the strains of Wivell's string band, under the leadership of Mr. Munyard. At that hour the number present was not quite a hundred, but towards midnight there could not have been less than four hundred persons in the room. The programme comprised twenty-four dances, including the Lancers and other quadrilles, waltzes, polkas, galop, &c., and terminating, at a late hour in the morning, with the time-honored Sir Roger de Coverly . . .
"INSOLVENT COURT . . . NEW INSOLVENTS", The Argus (27 July 1865), 6
http://nla.gov.au/nla.news-article5782870
Edward James Wivell, of Collingwood, photographer. Causes of insolvency - Falling off in business, and pressure of creditors. Liabilities, £136 15s. 4d.; assets, £49; deficiency, £87 15s. 4d. J. Goodman, official assignee.
"NOTES AND NEWS", South Bourke Standard (27 April 1866), 2
http://nla.gov.au/nla.news-article66907110
We understand it is in contemplation to establish a dancing class in connection with the Hawthorn Literary Association. Several young people in the neighbourhood having expressed a desire for instruction in this accomplishment, and made their wants known in the right quarter, Mr. E. J. Wivell, of St. George's Hall, Melbourne, has consented to conduct the class if a sufficient number of pupils come forward . . .
"GENERAL NEWS", The Express and Telegraph [Adelaide, SA] (11 April 1867), 2
http://nla.gov.au/nla.news-article207592771
Mr. E. J. Wivell, Professor of Dancing, has made arrangements with Mr. Hines, of the South Australian Assembly Rooms, to hold classes for instruction in dancing, &c., at his rooms. Mr. Wivell, we understand, is acquainted with all the newest and most fashionable dances, and we have no doubt he will be supported.
"GENERAL NEWS", The Express and Telegraph (18 November 1867), 2
http://nla.gov.au/nla.news-article207673767
The detectives on Friday, November 15, made an important capture, their prisoner being no less a person than Mr. Osbaldeston, the well-known gymnastic instructor, mesmeric subject, and drillmaster to a number of schools in the city. Mr. Osbaldeston's loyalty led him to seek the office of footman at Government House, during the stay of His Royal Highness, and he was fortunate enough to obtain the post. A number of articles being missed from Government House, Detective Doyle, who had the new footman in his eye, waited on him, and requested that he would accompany him about some other matter . . . Since Osbaldeston's capture his wife and a dancing master named Wivell have been arrested as implicated in the crimes charged against him, and there is a probability of other arrests, and some most startling revelations in unexpected quarters.
ASSOCIATIONS: Alfred (royal visitor)
"ASSEMBLY", South Australian Register (18 April 1867), 3
http://nla.gov.au/nla.news-article39185517
Mr. J. N. Hines will give a select ball at his Assembly Rooms on Monday next. Mr. Wivell, a French dancing-master, will act as the M.C.
"CHARGES OF THEFT. TO THE EDITOR", South Australian Register (19 November 1867), 2
http://nla.gov.au/nla.news-article39194081
Sir - In your report of the late robberies committed by Mr. Osbaldiston my name is connected in such a manner as to lead the public to conclude that I was connected with him in those thefts, and in such a manner as to do me a great an serious injury in my profession. Allow me, Sir, through your valuable medium, to vindicate my character by stating that I know nothing of Mr. Osbaldiston further than we were fellow-passengers from Melbourne to Adelaide; and both of us being strangers in South Australia, we, through Mr. Bastard, of the City Baths, procured a house between us in North Adelaide, where we lived, he occupying the front rooms and I the back. In this house we lived about three weeks in April last, since which time I have only recognised Mr. Osbaldiston as an acquaintance. Shortly after the arrest of Mr. Olbasdiston I received a visit from a detective simply because I had occupied a part of the same house as he. I was imprisoned, and brought to the bar as a criminal to answer to a charge of which the Bench was agreed that I was innocent, and therefore dismissed me. Hoping that you will give my brief statements a place in your earliest issue, I am, Sir, &c. EDWARD JAMES WIVELL. Grenfell-street east, November 14 1867.
"THE BALL-ROOM COMPANION", South Australian Register (10 May 1873), 5
http://nla.gov.au/nla.news-article39297380
This is the name of a pretty little publication issued by Mr. E. J. Wivell, of Adelaide. The book, which is portable in size and in all respects well turned out mechanically, is a useful compendium of the various dances that are now in vogue, and appears to have been compiled with great care. The dances are minutely described, and are illustrated by woodcuts showing the various positions. Mr. Wivell's share in the work appears to have been that of collating, and he has done it well. Lovers of the terpsichorean art who are endeavouring to teach themselves will find the book of great assistance.
"A NOVELTY IN DANCE MUSIC", South Australian Register (14 December 1876), 5
http://nla.gov.au/nla.news-article43009750
We have received from Mr. E. J. Wivell a copy of Strauss's Imperial Quadrille, to which has been set the exact and proper position of the dancer to each bar of the music throughout the quadrille, in the same manner as the words of a piece of vocal music are set to the score; and at the foot of the pages the directions for the various figures are given again in full. Instruction in the graceful accomplishment of dancing in this form will no doubt be very useful, not only to teachers of the art, but also to their pupils, especially those to whom the very important essential - "time" - is a difficult acquirement. The sheet is well printed on good paper, and has been produced to Mr. Wivell's order by a London firm.
"FAREWELL TO PROFESSOR WIVELL", Evening Journal (12 October 1893), 3
http://nla.gov.au/nla.news-article198434808
This evening a farewell concert will be tendered to Professor E. J. Wivell, who for the last twenty-five years has resided in Adelaide, and who is now about to leave the colony. Professor Wivell has interested himself particularly in art, and his large collection of pictures has for many years been an attraction in the city. It is hoped that the concert which is to be given in his honour to-night will be well patronised.
"PERSONAL NEWS", The Express and Telegraph (9 January 1907), 1
http://nla.gov.au/nla.news-article208898325
Mr. E. J. Wivell, teacher of dancing, Adelaide, has in his possession a bronze medal, presented by King William IV. to his father, Mr. Abram Wivell, the inventor of a fire-escape.
"FOUND DEAD", The Express and Telegraph (17 December 1909), 1
http://nla.gov.au/nla.news-article209499264
The City Watch-house received a report on Friday that an old man, Edward J. Wivell, aged 70 [sic], formerly a teacher of dancing, had been found dead in his bed room at the National Hotel, Pirie-street, at 11 a.m. that day. When discovered he was lying on the floor. The City Coroner had been informed.
"PERSONAL", The Advertiser (18 December 1909), 13
http://nla.gov.au/nla.news-article5208930
Mr. E. J. Wivell. whose death is announced in another column, was an old resident of Adelaide, and his business brought him into contact with large numbers of the citizens. He was a professor of dancing, and 32 years ago had an academy with a large hall attached on North-terrace, opposite to the institute. He was a perfect master of deportment, and frequently acted as master of the ceremonies at large balls and public entertainments. Mr. Wivell did his work thoroughly, and he always held the respect of his pupils, of whom many hundreds must have been trained in the Terpsichorean art during the many years he acted as an instructor. Mr. Wivell was a resident of Adelaide of quite half a century standing, and there will be a widespread expression of regret at his death.

Works:
The ball room companion and pupil's self-help by E. J. Wivell ([Adelaide]: E. J. Wivell, [1873])
https://trove.nla.gov.au/work/31206585

Bibliography and resources:
Brian Samuels, "Edward James Wivell (1833-1909) and his son Edmund Jerome Wivell, professors of dancing: a research note", Australian folklore 21 (November 2006), 139-42
https://trove.nla.gov.au/work/158886544
Amanda Card, "Do try this at home: dance manuals, myopia and misrecognition", in Gillian Arrighi and Victor Emeljanow (eds), A world of popular entertainments: an edited volume of critical essays (Newcastle upon Tyne: Cambridge Scholars, 2012), (118-36), 124-26
https://books.google.com.au/books?id=Dj0sBwAAQBAJ&pg=PA124 (PREVIEW)
"Edward James Wivell", Design & art Australia online (DAAO)
http://www.daao.org.au/bio/edward-james-wivell
Edward James Wavell [sic], Find a grave
https://www.findagrave.com/memorial/167193355/edward-james-wavell

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Johnstone H J photographer Adelaideview full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:

WIVELL, Edward James (Edward James WIVELL; E. J. WIVELL)
Dancing master, professor of dancing, teacher of music, photographer
Born London, England, 6 March 1833; baptised St. Pancras, 6 June 1833; son of Abraham WIVELL (1786-1849) and Harriet TILBURY (1804-1885) Arrived Melbourne, VIC, 27 December 1855 (per Gipsy Bride from Liverpool, 15 September) Married Mary MULREADY (c. 1840-1893), Fitzroy, VIC, 23 December 1863 Arrived Adelaide, SA, by 1867 Died Adelaide, SA, 16 December 1909
https://trove.nla.gov.au/search?l-publictag=Edward+James+Wivell+1833-1909 (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-503313 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-W-3.php#WIVELL-Edward-James (shareable link to this entry)
Edward James Wivell, professor of dancing (State Library of South Australia)
http://images.slsa.sa.gov.au/mpcimg/59250/B59012.htm (DIGITISED)

Summary:
Edward James Wivell was born in London on 6 March 1833, a son of the artist and portrait painter Abraham Wivell and his second wife Harriet Tilbury.

Documentation:
Baptisms solemnized in the parish of Saint Pancras in the county of Middlesex in the year 1833; register 1832-34, page 278; London Metropolitan Archives
https://www.ancestry.com.au/discoveryui-content/view/1736232:1558 (PAYWALL)
No. 906 / 1833 June 6th / Edward James / [son of] Abraham & Harriet / Wivell / Edward Street / Artist . . . / [born] 6 March
England census, 30 March 1851, Lady Wood, Birmingham; UK National Archives, HO107/2051/29/2
https://www.ancestry.com.au/imageviewer/collections/8860/images/WARHO107_2051_2051-0054?pId=9074588 (PAYWALL)
5 King Alfreds Place / Harriet Wivell / Head / Widow / 46 / . . . Caroline / 22 // Emily / 20 / Daurs. // Edward Wivell / Son / 18 / Printer [? Painter] / [born] London . . .
Names and descriptions of passengers per Gipsy Bride from Liverpool 15 September 1855 for Melbourne, 27 December 1855; Public Record Office Victoria
https://prov.vic.gov.au/archive/3AFC5433-F96C-11E9-AE98-217934D1FC21?image=242 (DIGITISED)
. . . Edward J. Wivell / 18 / Painter . . .
[Advertisement], The Argus (27 August 1856), 8
http://nla.gov.au/nla.news-article7135546
PORTRAITS for all Tastes and Every Purpose, taken by Johnstone and Wivell, 86 Collins-street east.
ASSOCIATIONS: Henry James Johnstone (artist, photographer)
[Advertisement], The Argus (26 September 1857), 8
http://nla.gov.au/nla.news-article7139296
DANCING. - FITZROY ASSEMBLY HALL, Napier-street, Collingwood. - Mr. WIVELL'S Select QUADRILLE CLASS meets every MONDAY EVENING -  Ladies admttted by tickets, to be had on application at the Hall at eight o'clock. Munyard's full Quadrille Band. Admission, 2s. 6d.
ASSOCIATIONS: John Munyard (musician)
[Advertisement], The Argus (4 January 1858), 7
http://nla.gov.au/nla.news-article7144487
TUITION in DANCING. - Messrs. WIVELL and HARDMAN will give INSTRUCTION in DANCING, comprising all the new and popular dances, including La Varsovianna, Labitzka, Rowda [sic, Redowa] Valse Deux Temps, Quadrilles, &c.,  at the Hanover Rooms, Swanston-street, every Wednesday evening, from 8 to 10 o'clock.  Those ladies and gentlemen who intend honoring them with their support will obtain all information upon application at the Rooms on the Assembly nights, or of Mr. Wivell, 100 Russell-street.
ASSOCIATIONS: Daniel Hardman (musician)
[Advertisement], The Argus (14 February 1859), 8
http://nla.gov.au/nla.news-article7309788
PANTHEON ASSEMBLY ROOMS, open Mondays, Thursdays, and Saturdays, under entire new management. Messrs. Munyard and Taylor's full string band. Tuesday, Tuition Class Mr. Wivell, Principal.
[Advertisement], The Argus (18 July 1859), 8
http://nla.gov.au/nla.news-article5684662
MR. WIVELL'S ASSEMBLY-ROOMS, Fitzroy-street, Collingwood. -  A SELECT BALL of pupils and friends THIS EVENING, dancing to commence as usual. This spacious Assembly Hall is now completed, and will open this evening with an augmented band.  The decoration of the ballroom has been under the immediate superintendence of Mr. Stocqueler. The band will be efficient, under the direction of Mr. Munyard.  Notice - Ladies will require the new Assembly Card, else admittance will be refused them.  Tickets, 5s. Mr. Wivell, conductor.
ASSOCIATIONS: Edwin Stocqueler (artist)
[2 advertisements], The Argus (22 August 1859), 8
http://nla.gov.au/nla.news-article5686711
DANCING - LADIES' DAY and EVENING CLASSES for CALISTHENICS, drill, deportment, &c. Mr. Wivell, Fitzroy-street, Collingwood.
MR. WIVELL, TEACHER of DANCING, Fitzroy-street, Collingwood. Private lessons in fashionable dances during the day, with the privilege of practising with a lady.
[News], The Argus (15 October 1859), 4
http://nla.gov.au/nla.news-article5690030
The ball at the Exhibition Building yesterday evening may fairly be considered as a successful finale to the great Caledonian Gathering, which has just taken place. The attendance of Highlanders, in full costume, was, on the whole, of average merit, although certainly far less than was anticipated. The unpropitious state of the weather doubtless had the effect of lessening the number of those who would otherwise have been present. Altogether, we should say, there were about 400 persons taking part in the amusements, of which number the ladies constituted a fair proportion. The dancing commenced with much spirit shortly after 9 o'clock, the ball being opened with a lively quadrille. The scene presented by the gay appearance of the various tartans worn by the Campbells, McGregors, McLeods, McDougalls, McKenzies, Grants, Stuarts, and Forbes was certainly very animating, and exhibited to advantage in the Caledonians, Highland schottisches, and Scots reels, in which the costume was peculiarly effective. The dancing was under the superintendence of Mr. E. J. Wivell. Winterbottom's band was in attendance, and gave general satisfaction . . .
ASSOCIATIONS: John Winterbottom (musician)
[2 advertisements], The Argus (13 February 1860), 7
http://nla.gov.au/nla.news-article5677088
DANCING. - Mr. WIVELL. teacher, 80 Fitzroy-street, Collingwood . . .
MESSRS. WIVELL and TAYLOR, PROFESSORS of DANCING, Deportment, Marching, Fencing, &c., 80 Fitzroy-street, Collingwood.
[Advertisement], The Argus (8 October 1860), 8
http://nla.gov.au/nla.news-article5691153
MR. WIVELL, TEACHER of DANCING, &c., (pupil of Mademoiselle and Mons. Gilmour) Academie, Fitzroy-street, Collingwood.
"THE NEWS OF THE DAY", The Age (20 May 1864), 5
http://nla.gov.au/nla.news-article155013261
A volunteer ball, under the patronage of the Colonel-Commandant, the volunteer staff, and a committee consisting of commissioned and non-commissioned officers, came off last night at the orderlyroom, Eastern hill . . . The company commenced to assemble a little before nine o'clock, and shortly after that hour dancing commenced to the strains of Wivell's string band, under the leadership of Mr. Munyard. At that hour the number present was not quite a hundred, but towards midnight there could not have been less than four hundred persons in the room. The programme comprised twenty-four dances, including the Lancers and other quadrilles, waltzes, polkas, galop, &c., and terminating, at a late hour in the morning, with the time-honored Sir Roger de Coverly . . .
"INSOLVENT COURT . . . NEW INSOLVENTS", The Argus (27 July 1865), 6
http://nla.gov.au/nla.news-article5782870
Edward James Wivell, of Collingwood, photographer. Causes of insolvency - Falling off in business, and pressure of creditors. Liabilities, £136 15s. 4d.; assets, £49; deficiency, £87 15s. 4d. J. Goodman, official assignee.
"NOTES AND NEWS", South Bourke Standard (27 April 1866), 2
http://nla.gov.au/nla.news-article66907110
We understand it is in contemplation to establish a dancing class in connection with the Hawthorn Literary Association. Several young people in the neighbourhood having expressed a desire for instruction in this accomplishment, and made their wants known in the right quarter, Mr. E. J. Wivell, of St. George's Hall, Melbourne, has consented to conduct the class if a sufficient number of pupils come forward . . .
"GENERAL NEWS", The Express and Telegraph [Adelaide, SA] (11 April 1867), 2
http://nla.gov.au/nla.news-article207592771
Mr. E. J. Wivell, Professor of Dancing, has made arrangements with Mr. Hines, of the South Australian Assembly Rooms, to hold classes for instruction in dancing, &c., at his rooms. Mr. Wivell, we understand, is acquainted with all the newest and most fashionable dances, and we have no doubt he will be supported.
"GENERAL NEWS", The Express and Telegraph (18 November 1867), 2
http://nla.gov.au/nla.news-article207673767
The detectives on Friday, November 15, made an important capture, their prisoner being no less a person than Mr. Osbaldeston, the well-known gymnastic instructor, mesmeric subject, and drillmaster to a number of schools in the city. Mr. Osbaldeston's loyalty led him to seek the office of footman at Government House, during the stay of His Royal Highness, and he was fortunate enough to obtain the post. A number of articles being missed from Government House, Detective Doyle, who had the new footman in his eye, waited on him, and requested that he would accompany him about some other matter . . . Since Osbaldeston's capture his wife and a dancing master named Wivell have been arrested as implicated in the crimes charged against him, and there is a probability of other arrests, and some most startling revelations in unexpected quarters.
ASSOCIATIONS: Alfred (royal visitor)
"ASSEMBLY", South Australian Register (18 April 1867), 3
http://nla.gov.au/nla.news-article39185517
Mr. J. N. Hines will give a select ball at his Assembly Rooms on Monday next. Mr. Wivell, a French dancing-master, will act as the M.C.
"CHARGES OF THEFT. TO THE EDITOR", South Australian Register (19 November 1867), 2
http://nla.gov.au/nla.news-article39194081
Sir - In your report of the late robberies committed by Mr. Osbaldiston my name is connected in such a manner as to lead the public to conclude that I was connected with him in those thefts, and in such a manner as to do me a great an serious injury in my profession. Allow me, Sir, through your valuable medium, to vindicate my character by stating that I know nothing of Mr. Osbaldiston further than we were fellow-passengers from Melbourne to Adelaide; and both of us being strangers in South Australia, we, through Mr. Bastard, of the City Baths, procured a house between us in North Adelaide, where we lived, he occupying the front rooms and I the back. In this house we lived about three weeks in April last, since which time I have only recognised Mr. Osbaldiston as an acquaintance. Shortly after the arrest of Mr. Olbasdiston I received a visit from a detective simply because I had occupied a part of the same house as he. I was imprisoned, and brought to the bar as a criminal to answer to a charge of which the Bench was agreed that I was innocent, and therefore dismissed me. Hoping that you will give my brief statements a place in your earliest issue, I am, Sir, &c. EDWARD JAMES WIVELL. Grenfell-street east, November 14 1867.
"THE BALL-ROOM COMPANION", South Australian Register (10 May 1873), 5
http://nla.gov.au/nla.news-article39297380
This is the name of a pretty little publication issued by Mr. E. J. Wivell, of Adelaide. The book, which is portable in size and in all respects well turned out mechanically, is a useful compendium of the various dances that are now in vogue, and appears to have been compiled with great care. The dances are minutely described, and are illustrated by woodcuts showing the various positions. Mr. Wivell's share in the work appears to have been that of collating, and he has done it well. Lovers of the terpsichorean art who are endeavouring to teach themselves will find the book of great assistance.
"A NOVELTY IN DANCE MUSIC", South Australian Register (14 December 1876), 5
http://nla.gov.au/nla.news-article43009750
We have received from Mr. E. J. Wivell a copy of Strauss's Imperial Quadrille, to which has been set the exact and proper position of the dancer to each bar of the music throughout the quadrille, in the same manner as the words of a piece of vocal music are set to the score; and at the foot of the pages the directions for the various figures are given again in full. Instruction in the graceful accomplishment of dancing in this form will no doubt be very useful, not only to teachers of the art, but also to their pupils, especially those to whom the very important essential - "time" - is a difficult acquirement. The sheet is well printed on good paper, and has been produced to Mr. Wivell's order by a London firm.
"FAREWELL TO PROFESSOR WIVELL", Evening Journal (12 October 1893), 3
http://nla.gov.au/nla.news-article198434808
This evening a farewell concert will be tendered to Professor E. J. Wivell, who for the last twenty-five years has resided in Adelaide, and who is now about to leave the colony. Professor Wivell has interested himself particularly in art, and his large collection of pictures has for many years been an attraction in the city. It is hoped that the concert which is to be given in his honour to-night will be well patronised.
"PERSONAL NEWS", The Express and Telegraph (9 January 1907), 1
http://nla.gov.au/nla.news-article208898325
Mr. E. J. Wivell, teacher of dancing, Adelaide, has in his possession a bronze medal, presented by King William IV. to his father, Mr. Abram Wivell, the inventor of a fire-escape.
"FOUND DEAD", The Express and Telegraph (17 December 1909), 1
http://nla.gov.au/nla.news-article209499264
The City Watch-house received a report on Friday that an old man, Edward J. Wivell, aged 70 [sic], formerly a teacher of dancing, had been found dead in his bed room at the National Hotel, Pirie-street, at 11 a.m. that day. When discovered he was lying on the floor. The City Coroner had been informed.
"PERSONAL", The Advertiser (18 December 1909), 13
http://nla.gov.au/nla.news-article5208930
Mr. E. J. Wivell. whose death is announced in another column, was an old resident of Adelaide, and his business brought him into contact with large numbers of the citizens. He was a professor of dancing, and 32 years ago had an academy with a large hall attached on North-terrace, opposite to the institute. He was a perfect master of deportment, and frequently acted as master of the ceremonies at large balls and public entertainments. Mr. Wivell did his work thoroughly, and he always held the respect of his pupils, of whom many hundreds must have been trained in the Terpsichorean art during the many years he acted as an instructor. Mr. Wivell was a resident of Adelaide of quite half a century standing, and there will be a widespread expression of regret at his death.

Works:
The ball room companion and pupil's self-help by E. J. Wivell ([Adelaide]: E. J. Wivell, [1873])
https://trove.nla.gov.au/work/31206585

Bibliography and resources:
Brian Samuels, "Edward James Wivell (1833-1909) and his son Edmund Jerome Wivell, professors of dancing: a research note", Australian folklore 21 (November 2006), 139-42
https://trove.nla.gov.au/work/158886544
Amanda Card, "Do try this at home: dance manuals, myopia and misrecognition", in Gillian Arrighi and Victor Emeljanow (eds), A world of popular entertainments: an edited volume of critical essays (Newcastle upon Tyne: Cambridge Scholars, 2012), (118-36), 124-26
https://books.google.com.au/books?id=Dj0sBwAAQBAJ&pg=PA124 (PREVIEW)
"Edward James Wivell", Design & art Australia online (DAAO)
http://www.daao.org.au/bio/edward-james-wivell
Edward James Wavell [sic], Find a grave
https://www.findagrave.com/memorial/167193355/edward-james-wavell

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

WOOD Eulalie view full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
WOOD, Eulalie (Eulalie LAMBELET; Mrs. James WOOD)
Musician, harpist, pianist, teacher of harp and piano, school teacher, governess, artist, printer, poet
Born Switzerland, c. 1799 Active England, by c. 1816 Married James WOOD (c. 1802-1854), Broadwater, Sussex, England, 14 September 1828 Arrived Hobart Town, VDL (TAS), 13 June 1829 (per Vibelia, from London, 4 January) Died Hobart, TAS, 3 September 1858, aged "59"
https://trove.nla.gov.au/search?l-publictag=Eulalie+Lambelet+Wood+d1858 (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-1486663 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-W-4.php#WOOD-Eulalie (shareable link to this entry)

Documentation:
[Advertisement], The Hobart Town Courier (5 January 1828), 3
http://nla.gov.au/nla.news-article4225050
Mr. JAMES WOOD proceeding to England by the ship Lang will be happy to execute any commissions in that country, as he purposes returning in the course of twelve months. Liverpool-street, Jan. 3, 1828.
"MARRIAGES", London Evening Standard (20 September 1828), 4
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000183/18280920/039/0004 (PAYWALL)
Sept. 14, at Broadwater, near Worthing, James Wood, Esq. to Miss Eulalie Lambelet.
[Ship news], The Hobart Town Courier (20 June 1829), 2
http://nla.gov.au/nla.news-article4215943
Arrived on Saturday the Vibilia, R. Stephenson from Gravesend, 6th Dec. and the Cape of Good Hope, 22d April. Passengers - Mr. & Mrs. James Wood . . .
CARGO OF THE BARK VIBILIA . . . 13 barrels blacking, 6 hhds. Teneriffe, 2 do. sherry, 12 cases port wine, 24 do. sherry, 24 hbds beer, 23 do. confectionery and pickles, 3 cases stationery, 1 case snuff, 1 cask seeds, 1 case containing a harp and music - James Wood.
[Advertisement], The Hobart Town Courier (20 June 1829), 3
http://nla.gov.au/nla.news-article4215953
MRS. WOOD has on Sale the undermentioned Goods, just imported: . . . A lithographic press with every necessary article for the practice of lithography. A copper-plate printing press with an assortment of plates and other articles necessary for the engraver . . . Mrs. Wood has also remaining one cottage cabinet piano forte of 6 octaves, an extra set of strings and a few new pieces of piano forte music. June 19, 1829.
See also "Lithography", Colonial Times (6 November 1829), 3
http://nla.gov.au/nla.news-article8644648
[Advertisement], Colonial Times (30 April 1830), 1
http://nla.gov.au/nla.news-article8645095
Lithographic Printing. THE above Art, practised-in all its Branches, at Mrs. WOOD'S, opposite the Waterloo Mills in Liverpool-street. Ink and Chalk Drawings, Maps; Plans, illustrations,  Music and Music Paper, Fac-similes, Circular Address and Compliment Cards,  Bill Heads and Cards for Tradesmen, Labels, Bills of Lading, Law and Military Forms,  Views in Hobart Town and the Interior, Signals, Ornamental Book Covers, &c. &c. &c., executed in the best manner with the utmost dispatch. Mrs. WOOD, in soliciting the attention of the Public to the Lithographic Printing, feels persuaded that it will be found to possess all the ordinary merits of Copper Engraving, with the decided and very important advantages of being executed in one third of the time, of giving a far greater number of impressions, and at considerably less expense. April 27, 1830.
[Advertisement], Launceston Advertiser (23 December 1841), 3
http://nla.gov.au/nla.news-article84755719
YOUNG LADIES SCHOOL. MRS. JAMES WOOD begs to announce to parents resident in Launceston that she has opened a School for the instruction of Young Ladies (daily pupils) in the usual branches of Education, at her present residence in Patterson Street, two doors from the Court House. Mrs. Wood begs In intimate that she has had considerable experience in tuition for upwards of twelve years in families of rank in England. Testimonials from whom can be afforded. Private lessons in French and on the Harp. References are kindly permitted to be made to the Rev. W. H. Browne, L.L.D., Dep. Asst. Com. Gen. Priaulx, and to William Gardner Sams, Esq. The present vacation will terminate, and the young ladies resume their studies on Monday the third of January next.
[Advertisement], Launceston Examiner (9 April 1842), 2
http://nla.gov.au/nla.news-article36248055
PRIVATE Tuition in French, the Harp, Piano, Drawing, &c., &c. - Mrs. JAMES WOOD would be happy to devote a few hours of each day, after her scholastic duties are terminated, to the instruction of young ladies in the above elegant accomplishments, either at Mrs. W.'s, or at the pupil's place of residence. Mrs. Wood completed the education of the daughter of Sir John Honeywood, Bart., M.P., of Evinton, in Kent; and also the six daughters of Christopher Tower, Esq., M.P., of Weald Hall, in Essex; testimonials from whom can he afforded. References are kindly permitted, as heretofore, to the Rev. W. H. Browne, L.L.D., D. A. C. G. Priaulx, and to Wm. Gardner Sams, Esq. Patterson-street, two doors from the Court House.
[Advertisement], Launceston Examiner (9 July 1845), 1
http://nla.gov.au/nla.news-article36240450
EDUCATION. - MRS. JAMES WOOD respectfully intimates that her Pupils will re-assemble on Tuesday, the 1st of July next. French, Drawing, Music, and Dancing taught, with or without masters. Terms may be known on application. St. John-square, south side, June 13, 1845.
[Advertisement], Wood's Royal Southern Kalendar, Tasmanian Register and General Australasian & East Indian Official Directory (Launceston: Henry Dowling, junior; Hobart: J. W. H. Walch, 1849), 23
http://books.google.com.au/books?id=QtMzAQAAMAAJ&pg=PA213
EDUCATION. FRENCH LANGUAGE, HARP, AND PIANO. MRS. JAMES WOOD WILL be happy to give instruction in the above accomplishments, and also to receive a few Young Ladies, to be educated in the usual branches of a Useful and Polite Education. George-street, Launceston, Jan. 1, 1849.
ASSOCIATIONS: Henry Dowling and James Walch (publishers)
[Advertisement], Colonial Times (11 November 1854), 3
http://nla.gov.au/nla.news-article8778028
MRS. WOOD BEGS to announce that in consequence of the departure of Sir William and Lady Denison, in whose family Mrs. W. has, for the last four years, attended as Governess, she will, after the Christmas vacation, receive at her residence a limited number of young Ladies to be instructed in every branch of an accomplished as well as an useful education. Mrs. Wood's experience in teaching renders her fully competent for the very responsible duty she offers to undertake, as she resided for many years in England as Governess in the family of Sir John Honeywood, Bart., of Evington, Kent, whose daughter she solely educated, and also in that of Christopher Tower, Esq., M.P., Weald Hall, Essex, from whom she has high testimonials. References are also permitted to Lady Denison. Mrs. Wood is a native of Switzerland. Terms to be had at Mrs. Wood's residence, No. 57 Davey Street, No[v]. 12 [sic], 1854.
ASSOCIATIONS: William and Caroline Denison (governor and wife, former employers)
1858, deaths in the district of Hobart Town; Tasmanian names index; NAME_INDEXES:1222123; RGD35/1/5 no 1094
https://stors.tas.gov.au/NI/1222123
https://stors.tas.gov.au/RGD35-1-5P258JPG (DIGITISED)
No. 1094 / September 3'd / Eulalie Wood (died Davey Street) / 59 years / Widow / Cancer / [informant] James Henry Wood son Davey Street . . .
"DIED", The Hobart Town Advertiser (4 September 1858), 2
http://nla.gov.au/nla.news-article264657161
On Friday, the 3rd instant, at her residence, No 93, Davey-street, EULALIE, relict of the late Mr. James Wood of Hobart Town, aged 59.
[Advertisement], The Hobart Town Advertiser (25 September 1858), 3
http://nla.gov.au/nla.news-article264658075
WRITTEN DURING A STORM OF RAIN, ACCOMPANIED BY A FLOOD.
The floating clouds now burst with rains O'er verdant fields and verdant plains; The skies have lost their azure hue, Behind the screens their lustrous blue.
The floods have pass'd their bounds, - Oh! Lord! Assuage them by thy powerful word, And send thy radiant bow in sight, And cheer us with its glorious light.
The restless floods, with furious force. Snatch'd of their prey, and sped their course. Oh ! God support my fainting breath, While I walk o'er this world of death.
All flesh is grass - a transient shade - And all like Eden's flowers, must fade; And Nature's crowding beauteous scene, Must wither with her gibs of green.
But happier regions we may gain Beyond the floods and storms of rain; A sweet, a lovely tranquil clime, Where light and glory ever shine.
MRS. WOOD. Hobart Town, 14th August, 1858.

Bibliography and resources:
"Music & Drama", The Mercury [Hobart, TAS] (9 March 1927), 3
http://nla.gov.au/nla.news-article29665781
. . . That music was firmly entrenched in the hearts of the people at a still earlier time than fifty years ago is evident, from a reading of the "Van Diemen's Land Royal Kalendar, Colonial Register and Almanack" for 1848 . . . it is reassuring to read that Mrs. James Wood, Upper George-street, east end of Frederick-street (Launceston) gives instruction to "Young Ladies in the French Language (in which the pure accent will be particularly attended to)," and that she combines, this praiseworthy aim with "Instruction on the Harp, Piano and Drawing." Assuming that the accomplished lady had all the harp-pupils that she doubtless deserved, one wonders what has become of the harps . . .
Eulalie Wood, Design & art Australia online (DAAO)
https://www.daao.org.au/bio/eulalie-wood
James Wood, Design & art Australia online (DAAO)
https://www.daao.org.au/bio/james-wood
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Woolcott Charles Henryview full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
WOOLCOTT, Charles Henry (Charles Henry WOOLCOTT; C. H. WOOLCOTT)
Musical amateur, vocalist, secretary (Australian Harmonic Club), Town Clerk of Sydney (1857-87), amateur artist
Born Exeter, England, 6 December 1821; baptised St Olave, Exeter, 25 December 1821; son of William WOOLCOTT (1784-1862) and Mary PROUT (1787-1860) Arrived Sydney, NSW, 29 October 1832 (per Nancy, with parents) Married Helen INDER (1831-1910), Sydney, NSW, 1862 Died Berry's Bay, NSW, 23 August 1905, aged "83/84"
https://trove.nla.gov.au/search?l-publictag=Charles+Henry+Woolcott+1821-1905 (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-1487061 (NLA persistent identifier)
https://sydney.edu.au/paradisec/australharmony/register-W-4.php#WOOLCOTT-Charles-Henry (shareable link to this entry)
ASSOCIATIONS: William Prout Woolcott (brother, musicseller, publisher); John Skinner Prout (first cousin); Cornelius Prout (maternal uncle)
Documentation:
Baptisms solemnized in the Parish of St. Olave in the County of Devon and City of Exeter in the year 1821; register, page 20; South West Heritage Trust
https://search.findmypast.co.uk/record?id=GBPRS%2FDEV%2F007119293%2F00022 (PAYWALL)
No. 156 / Born 6th Dec'r & Baptized 25th of Dec'r 1821 / Charles Henry the Son of / William and Mary / Woolcott / Fore Street Exeter / Shoemaker . . .
"INSTALLATION OF HIS EXCELLENCY SIR CHARLES FITZROY", The Sydney Morning Herald (4 August 1846), 2
http://nla.gov.au/nla.news-article12888895
[Advertisement], The Sydney Morning Herald (30 July 1845), 1
http://nla.gov.au/nla.news-article12881199
AUSTRALIAN HARMONIC CLUB. THE MEMBERS of the AUSTRALIAN HARMONIC CLUB are informed, that on and after Friday, the 1st of August, their usual meetings will take place at the Rechabite Hall, Pitt-street. CHARLES. H. WOOLCOTT, Hon. Secretary. July 29.
ASSOCIATIONS: Australian Harmonic Club (organisation)
"SYDNEY VOCAL HARMONIC SOCIETY", The Sydney Morning Herald (23 December 1858), 5
http://nla.gov.au/nla.news-article13016482
MEETING was held, at the Castlereagh-street Schoolroom, on Tuesday evening, formally to inaugurate the above society. At a previous meeting, which was held about a month since, a committee was appointed to draw up rules and to recommend officers under whose superintendence the society should be conducted. On Tuesday night the proceedings of the provisional committee were ratified, and the Sydney Vocal Harmonic Society was fairly launched into existence. The chair was taken by Mr. Charles Nathan, F.R.C.S., at a few minutes past 8 o'clock. when, after a few remarks as to the labours of the sub-committee in revising the rules, which had been compared with those of the Sacred Harmonic Society of London and the Philharmonic Society of Sydney, he called on Mr. Dyer to read the rules for the approval of the meeting . . . Mr. SLOPER seconded the appointment of Mr. Nathan as President, and the motion was carried with applause. Mr. Hurford was elected treasurer, Mr. Dyer secretary of the society, and the following gentlemen as committee-men for the year 1859: Rev. W. Cuthbertson, Messrs. D. Dickson, J. Dyer, M. Fitzpatrick, Rev. H. J. Hose, Messrs. H. R. Hurford, J. Johnson, R. Johnson, W. J. Johnson, J. V. Lavers, W. Macdonnell, W. McDonnell, J. Martin, F. L. S. Merewether, C. Nathan, F. E. Sloper, Rev. G. H. Stanley, Messrs. F. M. Stokes, J. Waller, Rev. W. H. Walsh, Messrs. W. Wilkins, C. H. Woolcott . . .
ASSOCIATIONS: Charles Nathan (president); Joseph Dyer (secretary); Henry and Lewis Hurford (members); Johnson brothers (members); William Macdonnell (member); Frederick Evans Sloper (member); Frederick Michael Stokes (member); James Waller (member); William Wilkins (member); Sydney Vocal Harmonic Society (amateur organisation)
[Advertisement], The Sydney Morning Herald (10 March 1859), 1
http://nla.gov.au/nla.news-article28631226
SYDNEY VOCAL HARMONIC SOCIETY. PATRON - His Excellency Sir William Denison, K.C.B. PATRONESS - Lady Denison PRESIDENT - Charles Nathan, Esq. HON. TREAS. - Mr. L. W. Hurford, Castlereagh-street. HON. SEC. - Mr. Joseph Dyer, 25, Macleay-street. COMMITTEE. Rev. W. Cuthbertson; Mr. J. Martin Mr. D Dickson; Hon. F. L. S. Merewether M. Fitzpatrick; Mr. F. E. Sloper Rev. H. J. Hose; Rev. G. H. Stanley Mr. H. R. Hurford; Mr. F. M. Stokes J. Johson; J. Waller R. Johnson; Rev. W. H. Walsh W. J. Johnson Mr. W. Wilkins J. V. Lavers; C. H. Woolcott. W. Macdonnell The FIRST CONCERT of this society will take place THIS EVENING, Thursday, March 10th, at the Castlereagh-street Schoolroom, when the first portion of Handel's Oratorio of the "Messiah," concluding with the "Hallelujah Chorus," will be performed. A small stringed Band will accompany the performance. The Oratorio will commence at 8 o'clock, and is expected to conclude before 10 o'clock. Those who have already enrolled their names as members and subscribers, will please pay the amount of their subscriptions to the Treasurer, when their tickets will be forwarded by post.  Member's, and subscriber's names are received by any of the members of the committee.  The annual subscription for members is two guineas, and for subscribers one guinea. The former are entitled to all the privileges of the society and to admissions for two ladies to each of the six concerts, and the latter to their own admission to the six concerts only. PROGRAMME. Overture Recitative - Comfort ye Air - Every valley Chorus - And the glory Recitative - Thus saith the Lord Air - But who may abide Chorus - And he shall purify Recitative - Behold, a virgin Air and chorus - O thou that tellest Recitative - For behold darkness Air - The, people that walked Chorus - For unto us a child Pastoral symphony Recitative - There were shepherds Recitative - And lo the angel Recitativo - And suddenly Chorus - Glory to God Air - Rejoice greatly Recitative - Tnen shall the eyes Air - He shall feed his flock Air - Come unto Him Chorus - His yoke is easy Chorus - Behold the Lamb Air - He was despised Chorus - Surely he hath borne Chorus - All we like sheep Grand chorus - Hallelujah.
"SYDNEY VOCAL HARMONIC SOCIETY", The Sydney Morning Herald (19 January 1860), 5
http://nla.gov.au/nla.news-article13035715
The first annual meeting of this society was held last night in the Infant Schoolroom, Castlereagh-Street, Dr. Charles Nathan in the chair. On account of the rainy weather the attendance was small. The CHAIRMAN having read the advertisement convening the meeting, called on the Secretary, Mr. Joseph Dyer, who read the following REPORT . . . Mr. JOSEPH DYER moved the second resolution: that the following gentlemen be the officers of the Society for the ensuing year. - Officers: Charles Nathan, Esq., F.R.C.S., president; Mr. L. W. Hurford, 191, Castlereagh-street, treasurer; Mr. Joseph Dyer, 25,Macleay- street, secretary. Committee: Rev. W. Cuthbertson, Mr. D. Dickson, Rev. H. J. Hose, Mr. H. R. Hurford, Mr. J. Johnson, Mr. R. Johnson, Mr. W. J. Johnson, Mr. J. V. Lavers, Mr. J. Black, Mr. W. A. Duncan, Mr. W. C. Curtis, Mr. W. Macdonnell, Hon. F. L. S. Merewether, Mr. F. E Sloper, Rev. G. H. Stanley, Mr. J. Waller, Rev. W. H. Walsh, Mr. W. Wilkins, Mr. C. H. Woolcott, Mr. Hellyer . . .
"DEATHS", The Sydney Morning Herald (24 August 1905), 6
http://nla.gov.au/nla.news-article14729338
WOOLCOTT. - August 23, at his residence, Ivy Cliffe, Berry's Bay, Charles Henry Woolcott, in his 84th year. No flowers.
"PERSONAL", The Sydney Morning Herald (24 August 1905), 6
http://nla.gov.au/nla.news-article14729385
The death is announced of Mr. Charles Henry Woolcott, formerly town clerk of Sydney. The deceased gentleman was for many years closely identified with the municipal life of this city. He took much interest in matters relating to the early history of Sydney, and some years ago the City Council accepted from him a gift of pictures which give a good idea of Sydney as it appeared in the early days. The late Mr. Woolcott passed away at his residence, Ivy Cliff, Berry's Bay, yesterday, in his 84th year.
"PERSONAL", The Daily Telegraph (25 August 1905), 5
http://nla.gov.au/nla.news-article237682401
The late Mr. Charles Henry Woolcott, whose death was reported in yesterday's issue, was born at Exeter (Eng.) in 1821. Coming to Sydney with his parents in 1823 [sic 1832], he received his education at Dr. Lang's school on Church-hill. In 1843 he obtained an appointment as clerk in the City Treasurer's office, and worked his way upward, becoming assistant town clerk in 1853. In 1855 was appointed to the office of Town Clerk, which had been vacant since Mr. John Rae's retirement. For 32 years the deceased filled that position, and, after seeing many municipal changes, he retired in 1887. To the last he retained a keen interest in municipal matters, his other hobby being the collection of pictures. Mr. Woolcott's death severs one of the last links with the municipal past. Ten years ago there dined with Mr. Woolcott, at his residence, Mr. Thomas Broughton, Mayor of Sydney, 1846; Mr. George Thornton, Mayor of Sydney, 1851-1857; and Mr. John Rae, Town Clerk, 1843-1853. They then comprised all that was left of the civic life of the forties. Mr. Woolcott was the last survivor of the gathering.
ASSOCIATIONS: John Rae (former town clerk, poet, lyricist); George Thornton (former mayor, composer)

https://trove.nla.gov.au/work/228537318
https://nla.gov.au/nla.obj-169347465 (DIGITISED)
https://collections.sea.museum/en/objects/12445 (DIGITISED)
ASSOCIATIONS: Woolcott and Clarke (publishers, i.e. William Prout Woolcott); Charles D'Albert (English-based composer); John Brandard (English lithographer); the music and print having been commissioned from d'Albert by Woolcott and Clarke, both the lithographed cover and engraved music were produced and printed in England, and shipped out to NSW for publication and sale

From his personal music collection:
The daughter of Israel, narrative ballad, sung by the musical sisters, the Misses Wybrow, music and poetry by Charles Sloman (Sydney: F. Ellard, [c. 1840s]), cover inscribed: "Charles H. Woolcott"
https://trove.nla.gov.au/work/14834195
https://collection.sl.nsw.gov.au/record/74Vv2GVxgj4Z (DIGITISED)
ASSOCIATIONS: Francis Ellard (musicseller, music engraver, music publisher)

Bibliography and resources:
Charles Henry Woolcott, Design & art Australia online (DAAO)
https://www.daao.org.au/bio/charles-henry-woolcott
Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Wyatt Williamview full entry

Reference: see reference in Biographical register of Australian colonial musical personnel, by Dr Graeme Skinner (University of Sydney) online:
WYATT, William (William WYATT)
Amateur artist, lithographer
Born Adelaide, SA, 19 March 1838; baptised 15 November 1838; son of William WYATT and Julia DARBY Died Burnside, SA, 28 December 1872, aged "34"
https://trove.nla.gov.au/search?l-publictag=William+Wyatt+1838-1872 (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-516429 (NLA peristent identifier)
https://sydney.edu.au/paradisec/australharmony/register-W-4.php#WYATT-William-jun (shareable link to this entry)

http://images.slsa.sa.gov.au/mpcimg/00500/B454.htm (DIGITISED)

Documentation:
Baptisms in May 1805, Charles the martyr, Plymouth; Plymouth & West Devon Record Office
https://search.findmypast.co.uk/record/browse?id=GBPRS/PLY/004634465/00186 (PAYWALL)
10 / William son of Richard & Grace Wyatt Born March 1805
"MARRIAGES", Exeter Flying Post [Exeter, Devon] (26 April 1832), 2
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000103/18320426/006/0002 (PAYWALL)
On Wednesday last, at St. Andrews' Church, Plymouth, Mr. William Wyatt, surgeon, of Plymouth, to Miss Julia Darby, daughter of the late John Darby, Esq., of London.
"BIRTH", South Australian Gazette and Colonial Register [Adelaide, SA] (7 April 1838), 3
http://nla.gov.au/nla.news-article31749903
March 19. - The Lady of W. Wyatt, Esq., J.P., of a Son.
"AMATEUR CONCERT", South Australian Register (25 June 1842), 2
http://nla.gov.au/nla.news-article27443437
The Amateur Concert, for the benefit of the Adelaide Infant School (not the Trinity Church Sunday School as erroneously stated in our last), took place on Tuesday evening. The room was crowded by a highly respectable assembly, and the whole concert "went off" most creditably for a first attempt. The overtures to Zampa and Fra Diavolo, in particular, were played with much spirit. Some disappointment, as well as considerable disadvantage to the vocal harmony, accrued from the desertion of the ladies who had promised their valuable assistance on the occasion. Notwithstanding their defection, however, the fine glees "Hark the Lark," "Bragela," and "Here in-coot grot," were sung with great sweetness. Dr. Kent and Dr. Knott were both most successful in their solos, and applauded to the "very echo." Among the amateurs, to whom the orchestral effect was principally owing, we may mention Mr. F. S. Dutton, who presided at the piano forte, Mr. Newland, Mr. McGill (96th Regt.), Mr. Wyatt, Dr. Kent, and Mr. Barnard. Messrs. Bennett, Poole, and Ewens also contributed their valuable assistance on the occasion; Mr. Charles Campbell good-naturedly complied with a request made to him in the room, and sung an Irish song in a style which reminded us of poor Jack Johnstone. The whole concert, in short, spoke highly of the musical talent of Adelaide, and is calculated, we hope, to lead to many similar agreeable entertainments. The proceeds to the benefit of the Infants' Schools amounted, we believe, to about twenty-five pounds.
ASSOCIATIONS: Benjamin Archer Kent (amateur vocalist); John Knott (amateur vocalist); Francis Stacker Dutton (amateur pianist); John Napier Magill (amateur musician); George Bennett (musician); Mr. Poole (musician); William Ewens (amateur vocalist)
[Advertisement], South Australian (7 November 1843), 3
http://nla.gov.au/nla.news-article71618376
THE AMATEUR CONCERT, FOR the liquidation of the debt incurred on Trinity Church School, will take place in Messrs. Lambert and Son's new Auction Room, THIS EVENING, at seven o'clock, P.M. PROGRAMME. PART 1. Overture - "Masaniello" - Auber Glee - "The Red Cross Knight" - Calcott Song = "The Flag that Brav'd" - Nelson Duet - "Borne in yon Blaze" - Dr. Clarke Duet (flutes) - "Di tanti Palpiti" - Rossini Glee - The Curfew" - Bishop Duet - "Flow gently, Deva" - Bishop Overture - "Tancredi" - Rossini PART 2. Overture - "La Cenerentola" - Rossini Glee - "Hunting Glee" - Wade Song - "Zephyr among the Flowers" - Bennett Duet - "Now at Moonlight's fairy hour" - Thompson Concerto - "Pianoforte" - Herz Glee - "The Chough and Crow" - Bishop Overture - "L'Italiana" - Rossini Finale - "God save the Queen". Tickets, 5s each, may be obtained at the Bank of South Australia, and the Club, from J. G. Nash, Esq., A. D. Gell, Esq., Messrs. Lambert and Son, and at this office. A family ticket, to admit three, 10s. Oct. 29th, 1843.
"AMATEUR CONCERT", South Australian Register (11 November 1843), 3
http://nla.gov.au/nla.news-article27445887
On Tuesday a vocal and instrumental concert, of which we had a short notice in our last, was given by several amateurs in Messrs. Lambert's new auction-rooms. The doors were opened at half-past seven, and nearly the whole of the seats were occupied by eight o'clock, at which time his Excellency the Governor and Mrs. Grey arrived. They were received with every demonstration of respect, and the concert almost immediately commenced with Auber's Overture to Masaniello. Mr. Bennett took the pianoforte, Dr. Kent, Dr. Wyatt, and Lieut. Magill had their flutes, and Mr. Poole his bass-viol. The music of this piece is too well known to require comment, and, if we may judge from the applause of the audience, the performers did it full justice.
Dr. Calcott's beautiful glee, "The Red Cross Knight," followed, by Drs. Kent and Wyatt, and Messrs. Ewens and Howard [sic, Harward], accompanied on the pianoforte by Mr. Bennett. In our very humble opinion, the effect was rather injured by its being sung too fast: it had the appearance of being hurried over, and many of the best points were lost. Still, this is a matter of taste, and probably ours may be peculiar.
Dr. Knott next sang "The flaunting Flag of Liberty" with his usual good taste and gentlemanly manner.
A Lady, who has sometimes before delighted us in public, and often in private, then sang, as a duet, with Dr. Kent, "Borne on yon blaze of orient sky" - a very pretty piece - in which she also played the pianoforte accompaniment.
A duet on flutes by Drs. Wyatt and Kent followed, ("Di tanti palpiti") and, another glee and a duet, the first part closed with the Overture to Tancredi, in which Mr. Bennett's violin was added to the instruments before used, the lady playing the pianoforte.
Not to be tedious, we will only say that, in the second part, several very pretty pieces, mostly of a light kind, were introduced. In one Dr. Kent threw in a dash of variety by accompanying himself on the guitar.
A concerto on the pianoforte by the lady was received with much applause.
The beautiful glee, "The Chough and Crow," was given in excellent style, followed by a duet on the pianoforte, and the concert concluded with the National Anthem by the lady before alluded to, and Drs. Wyatt and Kent.
An entertainment of this kind is rather a novelty here, and we were much gratified to see that it could be so well done, and that it was so well supported. The most distinguished persons in the Colony were present, and the room presented a very pretty appearance from the taste and elegance of the ladies' dresses, not to mention their own beauty, which is proverbial. An air of cheerfulness seemed to pervade every one . . .
ASSOCIATIONS: George and Eliza Grey (governor and wife); the "lady" probably Georgiana Murray (pianist, vocalist); Thomas Harward (amateur vocalist)
"MR. BENNETT'S CONCERT", Southern Australian (5 January 1844), 3
http://nla.gov.au/nla.news-article71627957
On Wednesday evening we had the pleasure of attending a concert given by the above gentleman. To our agreeable surprise, we found that Drs. Kent and Wyatt had given their valuable aid, and they, of course, contributed in no small degree to the harmony of the evening. Several excellent overtures and glees were performed in a manner which gave great satisfaction, and it was remarked that there was a decided improvement as the performances proceeded. "The Breath of the Briar," by Mrs. Murray, Messrs. Ewens, Harward, and Poole, was beautifully executed; and, in the second part, "Mary of Argyle," a very sweet song was sweetly sung by Mrs. Murray, and deservedly encored. The Glee, "The Merriest Time of all the Year," also elicited universal applause. The little catch, "Ah! how, Sophia," was successfully performed by Messrs. Ewens, Harward, and Bennett. It is celebrated for its puns, having been expressly composed for cockney singers . . . Altogether, this, we should say was one of the best concerts we have had in Adelaide. His Excellency the Governor and Mrs. Grey were present. The attendance was pretty good, consisting of about 100 ladies and gentlemen, and will, we trust, encourage Mr. Bennett again to favor the public with a similar gratification at no distant period.
"ADELAIDE CHORAL SOCIETY", South Australian Register (13 January 1849), 2
http://nla.gov.au/nla.news-article50246192
AT the Annual Meeting of the Subscribers, held at the "Freemasons' Tavern," on Tuesday evening, the 9th January, 1849 (Dr. Wyatt in the chair), the following reports and accounts were submitted, and ordered to be published: - The Committee in giving their Report of the proceedings for the last twelve months, congratulate the members on the general results which have attended their efforts, inasmuch as the Concerts given by the Society have afforded general satisfaction to the subscribers, and the public who have favoured them with their attendance at the performances, while the advancement which the orchestra members have made, they trust, is as satisfactory to themselves as it is gratifying to the Committee to observe. The proceeds from the Concerts have not equalled the expectations of the Committee, which, however, is attributable to the inclement weather on the evenings on which they took place. The success which attended their first Concert in February last, induced the Committee to authorise the purchase of a pianoforte which was offered to them on terms they thought they could have met without inconvenience; but in consequence of the deficiency in their receipts, they were reluctantly compelled to dispose of it again, and although the sale was effected without incurring any loss, they regret not being able to secure an instrument so desirable for the Society to possess. They have, however, been enabled to purchase a Double Bass and three Trombones, which are acquisitions of importance, as well as a score copy of the Messiah, and the Oratories of Sampson, Jeptha, Judas, Maccabeas, Israel in Egypt, Joshua, Joseph, Solomon, and Acis and Galatea. The payments for music books, paper and copying, have also been considerable, but unavoidable, until the Society can obtain the necessary music from England or elsewhere. The Committee are anxious to express their obligation for the great assistance which some members have afforded in copying free of cost, without which this item of expenditure would have been considerably augmented . . .  JOHN W. F. DALTON, Hon. Secretary. Adelaide, January 10, 1849.
ASSOCIATIONS: Adelaide Choral Society (organisation)
"THE CHORAL SOCIETY", South Australian Register (30 January 1855), 3
http://nla.gov.au/nla.news-article49301733
The annual meeting af the Adelaide Choral Society was held last evening at Green's Exchange, Mr. T. P. Addison in the chair. The report of the Committee for the past year detailed the progress of the Society during that period. It was a very satisfactory document, showing as it did the very extraordinary progress the Society has made since its resuscitation at the commencement of the year 1854 . . . The officers for the ensuing year were elected as follows: - President, Dr. Wyatt; Vice-President, C. Mann, Esq.; Treasurer, Mr. Smyth; Librarian, Mr. Mitchell; Secretary, Mr. Snaith; Auditors, Messrs. Whiting ton and Thomas; Committee, Messrs. Addison, Rodemann, Rainsford, Spiller, Dr. Cotter, Dr. Sholl, Messrs. Thompson, Lower, and C. Mitchell . . .
ASSOCIATIONS: Thomas Plummer Addison (chair); John Snaith (secretary); Maximillian Louis Rodemann (member); Emanuel Spiller (member)
"CHORAL SOCIETY", Adelaide Observer (31 January 1857), 3
http://nla.gov.au/nla.news-article158114325
The annual meeting of the Choral Society was held yesterday evening at Neales's Exchange. Dr. Wyatt, the President, was in the chair. The following report of the Committee was read and adopted: . . .  "The Committee of the Adelaide Choral Society have much pleasure in presenting their report of the transactions of this Society for the past year, and feel pride in stating that the members have been entertained by the performance of a far greater number of entirely new pieces than have ever been introduced by this Society within the same period of time; no less than twenty concerted pieces and choruses, with full orchestral accompaniments, having been performed during the last year, which have never before been heard in South Australia. Your Committee beg to record the high esteem in which they hold the indefatigable exertions of Herr Linger, their conductor, to whom, in connection with Mr. Chapman, the leader, they feel indebted for that degree of efficiency which has been attained by the orchestra of this Society . . ." . . . The officers for the ensuing year were elected as follows: - President, Dr. Wyatt; Vice-President, Mr. John Brown; Secretary, Mr. W. G. Harris; Librarians, Messrs. Clisby and Edwards; Auditors, Messrs. Whitington and D. Harwood; Committee, Dr. Davies, Dr. Sholl, Messrs. Addison, Lower, Mitchell, Betteridge, Rodemann, Vouader, Heyde [sic Von der Heyde], and Wurms [sic] . . .
ASSOCIATIONS: Carl Linger (conductor); William Chapman (leader, violin); Redford Clisby (member); Henry Betteridge (member), Gustav von der Heyde (member); Louis Frederick Wurm or his brother Henry (member)
"SONG OF THE VOLUNTEERS", Adelaide Observer (7 January 1860), 5
http://nla.gov.au/nla.news-article158172945
We have been favoured with a proof of the above song, the words, as will be remembered being, by Mr. H. E. Smith, and the music by Signor Cutolo. The song was first sung at one of the Signor's concerts in Adelaide, and the bold and martial character of the strain was greatly admired and applauded. In its praise, as an addition to the songs produced within the colony of South Australia, we need say nothing more than has been said already; but of the style in which the song is got up it would be wrong to be silent, since there is so much to approve in the clearness of the type, the general correct ness of the lithography, and more particularly in the frontispiece which illustrates the theme. We are informed that the frontispiece was designed by Mr. W. Wyatt, son of Dr. Wyatt, and that it was also drawn by him on stone. It represents a spot upon the coast off which two men-of-war are engaged in landing an invading force. Behind two huge gum trunks and a broken limb that has fallen from one of them are ensconced five of our gallant volunteers, one in the act of loading, and the others aiming and firing at the advancing party. The position and attitude of the riflemen are well managed, as is also the distance of the invading ships and forces; while a grass-tree in the foreground of the drawing gives a distinct South Australian cast to the whole. We can readily imagine that the frontispiece might tempt many to purchase the song apart from the intrinsic excellence of the words and the music.
ASSOCIATIONS: Cesare Cutolo (composer); Henry Edward Smith (lyricist)
"COLONIAL MUSIC", The South Australian Advertiser (11 January 1860), 3
http://nla.gov.au/nla.news-article1201025
We were some days since favored with a copy of the Volunteers' Song - words by Mr. Smith, music by Signor Cutolo . . . It may now be had of the booksellers and others for a small sum. The engraving is well executed, and the frontispiece consists of a smart lithograph by Mr. Wyatt, jun., representing the gallant volunteers - not exactly winning "glorious blood-red biers," but furnishing the same to a number of invaders whom they are picking off most satisfactorily at long range.
"CORONERS' INQUESTS. SHOCKING MURDER AT BURNSIDE", The South Australian Advertiser (30 December 1872), 2
http://nla.gov.au/nla.news-article28691420
On Saturday evening, December 28, the township of Burnside was thrown into a state of great excitement by the report that a man named James Slape, a laborer, who has been several times employed by Dr. Wyatt, had murdered William Wyatt, jun., son of Dr. Wyatt, Chief Inspector of Schools. The report, alas, proved to be too true. The deed had been done by a mattock, which must have been wielded with terrific force, judging from the wound which was made on the right side of the head, and the position in which the body was found. The head of the deceased presented a shocking appearance. A gaping wound large enough to admit three fingers, and of jagged appearance, was observable on the head. Upon information being given at the Mounted Police Barracks, troopers were immediately dispatched and the murderer was arrested . . .
"SOUTH AUSTRALIA (FROM OUR CORRESPONDENTS) ADELAIDE. FRIDAY', The Argus (12 June 1886), 11
http://nla.gov.au/nla.news-article6098870
Dr. Wyatt, chairman of the Adelaide Hospital Board, died to-day, aged 82. He arrived in the colony in 1837. He leaves about £100,000 worth of property, which is principally bequeathed to the charities of the city. Mrs. Wyatt survives him.
"DEATHS", Evening Journal (14 June 1886), 2
http://nla.gov.au/nla.news-article197817929
WYATT. - On the 10th June, at Kurralta, William Wyatt, aged 81.

Works:
Song of the volunteers composed by Sig. Cutolo, words by H. E. Smith, esq. ([Adelaide: W. Wyatt for C. Cutolo and H. E. Smith, 1860])
https://trove.nla.gov.au/work/156931383
https://collection.sl.nsw.gov.au/record/74VM5QzJyZ3l
https://nla.gov.au/nla.obj-179494084 (DIGITISED)
Some account of the manners and superstitions of the Adelaide and Encounter Bay Aboriginal tribes, with a vocabulary of their languages, names of persons and places, &c., principally extracted from his official reports by William Wyatt, esq., J.P. (formerly Protector of the Aborigines, South Australia), in Native tribes of South Australia (Adelaide: Wigg & Son, 1879)
https://digital.library.adelaide.edu.au/dspace/handle/2440/15080 (DIGITISED)
Wyatt, senior, was Protector of Aborigines, SA, 1837-39; see for instance, this report of a meeting between the goveror and "a band of about 200 friendly natives", headed by "Onkaparinga Jack" and "Captain Jack", at Adelaide, in November 1838; "THE NATIVES", South Australian Gazette and Colonial Register (3 November 1838), 4
http://nla.gov.au/nla.news-article31750215
Fort 2008 (49-50) transcribes a letter from Wyatt that she dates to mid 1838, including:
https://books.google.com.au/books?id=HVH5tLjaOe8C&pg=PA49 (PREVIEW)
Yesterday, one whom I thought a chief, by the kangaroo bone being struck through the septum of his nose, and who also had a very intelligent countenance, came with his two wives and another man . . . One of them has also played on Julia's piano and followed her, when she struck the notes, with his voice in tune, either when played promiscuously or in succession. They call it corrberry, so they evidently mean by that word the music which accompanies their dance, and not the dance itself . . .
ASSOCIATIONS: Kadlitpinna (Indigenous leader); Mullawirraburka (Indigenous leader); Kaurna (Indigenous people of the Adelaide plains)

Bibliography and resources:
Alan Rendell, "Wyatt, William (1804'1886)", Australian dictionary of biography 2 (1967)
https://adb.anu.edu.au/biography/wyatt-william-2821
Carol Fort, Keeping a trust: South Australia's Wyatt Benevolent Institution and its founder (Adelaide: Wakefield Press, 2008)
https://books.google.com.au/books?id=HVH5tLjaOe8C (PREVIEW)
William Wyatt [senior], Design & art Australia online
https://www.daao.org.au/bio/william-wyatt-1/biography
William Wyatt [junior], Design & art Australia online
https://www.daao.org.au/bio/william-wyatt/biography

Publishing details: https://www.sydney.edu.au/paradisec/australharmony/register-A.php

Fullwood A H report of deathview full entry

Reference: See Evening News, Sydney, 2 October, 1930, p9, ART PIONEER - Mr. A. H. Fullwood Dead
The death occurred last night at the
Waverley War Memorial Hospital of
Mr. Albert Henry Fullwood, one of the
pioneers of Australian art who helped
in the establishment of the Society of
Artists.
One son Geoffrey, two sisters, Mrs. E.
J. De Lough, of Manly and Mrs. Nelly
Fullwood, and one brother, Mr. Fred
Fullwood, survive him.
Mr Fullwood was born in Birmingham,
but came to Australia when a young
man. All his life he has been asso-
ciated with art, and was connected with
that side of the Picturesque Artists of
Australia for some time. During the
war he was official war artist for the
Commonwealth Government with the
rank of lieutenant and is represented to
all principal Continental and Australian
galleries.

Lyndon Herbertview full entry

Reference: see Bamfords Auctioneers & Valuers, UK, 14.9.22, lot 345:
Herbert Lyndon (1855 - 1932) Fishing the Pool signed, dated 1884, oil on canvas, 70cm x 46cm Australian label to verso for Adelaide Jubilee Exhibition 1887

de Korte H Gview full entry

Reference: see Jasper52 Auctios, NY, Sept 2022 (buy now)
H. G. de Korte
Medium: Oil on Canvas
Image Size: 19.5"x 23"
Image size: 50cm x 59cm
framed: no
stretched: no
Huile sur Toile Peinture
This is a magnificent
oil on canvas painting
with beautiful details and it is in
very good condition.
*Hennie De Korte*
Born January 5, 1941, the son of a bridge builder, Hennie De Korte spent his early years in Australia after his family moved there in 1952. In 1956 he returned to Holland and studied at the Academy of Fine Arts in Rotterdam. Four years later he was back in Australia and studying at the Art Academy in Sydney. Upon his return to Holland he married, bought a sailing boat, and traveled the world with his new bride. After this trip he applied himself to his chosen profession and had several successful exhibitions in various cities in Europe. De Korte's style of impressionism was strongly influenced by the Liebermann Retrospective of 1979. He began his training in Sydney, developing his style from English landscape painting. By studying Gainsborough's work, De Korte learned the technique of painting with glazes. However, early in his four year study period at the Academy in Rotterdam, De Korte was inspired heavily by Dutch Impressionists such as Maris and deZwart.
Reserve: $355.00

Tonkin Maryview full entry

Reference: Mary Tonkin - Australian Galleries. Ramble, Kalorama 2017-19, catalogue for Sydney Contemporary Art Fair with 38 illustrations. With biography.
Publishing details: Australian Galleries, 2022, 5 illustrations, 6pp
Ref: 224

Tonkin Maryview full entry

Reference: Mary Tonkin - Australian Gallerie catalogue for Sydney Contemporary Art Fair with 38 illustrations. With biography.
Publishing details: Australian Galleries, 2022, 8pp, 38 illustrations,
Ref: 224

Artist Profileview full entry

Reference: Artist Profile Space, booklet produced for Sydney Contemporary Art Fair 2022, with biographies of 9 artists. Illustrated
Publishing details: Artist Profile, 2022, 24pp
Ref: 224

Bruzzese Bellaview full entry

Reference: see Artist Profile Space, booklet produced for Sydney Contemporary Art Fair 2022, with biographies of 9 artists. Illustrated
Publishing details: Artist Profile, 2022, 24pp

O’Doherty Chrisview full entry

Reference: see Artist Profile Space, booklet produced for Sydney Contemporary Art Fair 2022, with biographies of 9 artists. Illustrated
Publishing details: Artist Profile, 2022, 24pp

Mombassa Regview full entry

Reference: see Artist Profile Space, booklet produced for Sydney Contemporary Art Fair 2022, with biographies of 9 artists. Illustrated
Publishing details: Artist Profile, 2022, 24pp

Griggs Davidview full entry

Reference: see Artist Profile Space, booklet produced for Sydney Contemporary Art Fair 2022, with biographies of 9 artists. Illustrated
Publishing details: Artist Profile, 2022, 24pp

Yardley Heideview full entry

Reference: see Artist Profile Space, booklet produced for Sydney Contemporary Art Fair 2022, with biographies of 9 artists. Illustrated
Publishing details: Artist Profile, 2022, 24pp

Knight Jasperview full entry

Reference: see Artist Profile Space, booklet produced for Sydney Contemporary Art Fair 2022, with biographies of 9 artists. Illustrated
Publishing details: Artist Profile, 2022, 24pp

India Markview full entry

Reference: see Artist Profile Space, booklet produced for Sydney Contemporary Art Fair 2022, with biographies of 9 artists. Illustrated
Publishing details: Artist Profile, 2022, 24pp

Nguyen-Long Maiview full entry

Reference: see Artist Profile Space, booklet produced for Sydney Contemporary Art Fair 2022, with biographies of 9 artists. Illustrated
Publishing details: Artist Profile, 2022, 24pp

Tu’u Tellyview full entry

Reference: see Artist Profile Space, booklet produced for Sydney Contemporary Art Fair 2022, with biographies of 9 artists. Illustrated
Publishing details: Artist Profile, 2022, 24pp

Young Zoeview full entry

Reference: see Artist Profile Space, booklet produced for Sydney Contemporary Art Fair 2022, with biographies of 9 artists. Illustrated
Publishing details: Artist Profile, 2022, 24pp

Wallis James A view of the Cove and part of Sydneyview full entry

Reference: see Antipodean Books Maps and Prints, September, 2022 catalogue:
A VIEW OF THE COVE AND PART OF SYDNEY. NEW SOUTH WALES. TAKEN FROM DAWES BATTERY.
London: R. Ackermann, 1820. Print. This large print is the most important of the twelve views drawn to accompany "An Historical Account of New South Wales and Its Dependent Settlements; In Illustration of Twelve Views, Engraved by W. Preston, a Convict; from Drawings taken on the Spot, by Captain Wallis of the Forth-Sixth Regiment...", published in London by Ackermann in 1821. Although Wallis claims to be the artist on the title page, the purchase of the original sketch album by the Mitchell Library in 2011 shows the images were drawn by both Wallis and the convict artist Joseph Lycett . The engraver Preston was also a convict transported to Australia. The folklore surrounding this important work indicates that he engraved the views on the sheet-copper from the hulls of ships, as none other was available in New South Wales at the time.   The album held by the SLNSW is Wallis' own grangerized volume of the work. It includes "original drawings, watercolours, and collages by James Wallis and Joseph Lycett including views, portraits of Aboriginal people, botanical, and natural history illustrations." The print appears to be based on this entry in Wallis' copy and is inscribed lower center "Drawn by a Convict".  [1.] [A View of the Cove and Part of Sydney, New South Wales, taken from Dawe's Point, ca. 1818 / by Joseph Lycett] Watercolour Inscribed lower centre in ink `Drawn by a Convict.? Untitled original drawing for Plate 1 of Wallis? 'An Historical account of the colony of New South Wales ? (1821)  SLNSW Call Number SAFE/PXE 1072.   Wallis arrived with the 46th regiment, on the same ship which brought Joseph Lycett as a convict. Both Preston and Lycett were prisoners under Wallis in Newcastle where Wallis ran the penal settlement between 1816 and 1818. Lycett was to receive fame, and a pardon, for his famous work "Views of Australia". Ultimately, both men were pardoned by Macquarie. Wallis departed Australia in 1819 and took toe plates with him to London, where this book was published by Ackermann in 1820.   "Wallis's book has a most important position in a collection of Australian plate books. It is the first book of general landscape views of early New South Wales, representing the first great celebration of the progress of the colony made under the civilising rule of Governor Macquarie and, indeed, of Wallis himself. It is also the first plate book, properly so called, to consist entirely of plates engraved in the colony by a colonial engraver". (Wantrup) Ferguson 842; Wantrup 217a.   Copper engraving with later hand-color, image 56 x 38 cm, with generous margins. Some light tanning from early matting. Very good overall. Item #7688
Price: $5,500.00

Lycett Joseph A view of the Cove and part of Sydneyview full entry

Reference: see Antipodean Books Maps and Prints, September, 2022 catalogue:
A VIEW OF THE COVE AND PART OF SYDNEY. NEW SOUTH WALES. TAKEN FROM DAWES BATTERY.
London: R. Ackermann, 1820. Print. This large print is the most important of the twelve views drawn to accompany "An Historical Account of New South Wales and Its Dependent Settlements; In Illustration of Twelve Views, Engraved by W. Preston, a Convict; from Drawings taken on the Spot, by Captain Wallis of the Forth-Sixth Regiment...", published in London by Ackermann in 1821. Although Wallis claims to be the artist on the title page, the purchase of the original sketch album by the Mitchell Library in 2011 shows the images were drawn by both Wallis and the convict artist Joseph Lycett . The engraver Preston was also a convict transported to Australia. The folklore surrounding this important work indicates that he engraved the views on the sheet-copper from the hulls of ships, as none other was available in New South Wales at the time.   The album held by the SLNSW is Wallis' own grangerized volume of the work. It includes "original drawings, watercolours, and collages by James Wallis and Joseph Lycett including views, portraits of Aboriginal people, botanical, and natural history illustrations." The print appears to be based on this entry in Wallis' copy and is inscribed lower center "Drawn by a Convict".  [1.] [A View of the Cove and Part of Sydney, New South Wales, taken from Dawe's Point, ca. 1818 / by Joseph Lycett] Watercolour Inscribed lower centre in ink `Drawn by a Convict.? Untitled original drawing for Plate 1 of Wallis? 'An Historical account of the colony of New South Wales ? (1821)  SLNSW Call Number SAFE/PXE 1072.   Wallis arrived with the 46th regiment, on the same ship which brought Joseph Lycett as a convict. Both Preston and Lycett were prisoners under Wallis in Newcastle where Wallis ran the penal settlement between 1816 and 1818. Lycett was to receive fame, and a pardon, for his famous work "Views of Australia". Ultimately, both men were pardoned by Macquarie. Wallis departed Australia in 1819 and took toe plates with him to London, where this book was published by Ackermann in 1820.   "Wallis's book has a most important position in a collection of Australian plate books. It is the first book of general landscape views of early New South Wales, representing the first great celebration of the progress of the colony made under the civilising rule of Governor Macquarie and, indeed, of Wallis himself. It is also the first plate book, properly so called, to consist entirely of plates engraved in the colony by a colonial engraver". (Wantrup) Ferguson 842; Wantrup 217a.   Copper engraving with later hand-color, image 56 x 38 cm, with generous margins. Some light tanning from early matting. Very good overall. Item #7688
Price: $5,500.00

Preston Walter A view of the Cove and part of Sydneyview full entry

Reference: see Antipodean Books Maps and Prints, September, 2022 catalogue:
A VIEW OF THE COVE AND PART OF SYDNEY. NEW SOUTH WALES. TAKEN FROM DAWES BATTERY.
London: R. Ackermann, 1820. Print. This large print is the most important of the twelve views drawn to accompany "An Historical Account of New South Wales and Its Dependent Settlements; In Illustration of Twelve Views, Engraved by W. Preston, a Convict; from Drawings taken on the Spot, by Captain Wallis of the Forth-Sixth Regiment...", published in London by Ackermann in 1821. Although Wallis claims to be the artist on the title page, the purchase of the original sketch album by the Mitchell Library in 2011 shows the images were drawn by both Wallis and the convict artist Joseph Lycett . The engraver Preston was also a convict transported to Australia. The folklore surrounding this important work indicates that he engraved the views on the sheet-copper from the hulls of ships, as none other was available in New South Wales at the time.   The album held by the SLNSW is Wallis' own grangerized volume of the work. It includes "original drawings, watercolours, and collages by James Wallis and Joseph Lycett including views, portraits of Aboriginal people, botanical, and natural history illustrations." The print appears to be based on this entry in Wallis' copy and is inscribed lower center "Drawn by a Convict".  [1.] [A View of the Cove and Part of Sydney, New South Wales, taken from Dawe's Point, ca. 1818 / by Joseph Lycett] Watercolour Inscribed lower centre in ink `Drawn by a Convict.? Untitled original drawing for Plate 1 of Wallis? 'An Historical account of the colony of New South Wales ? (1821)  SLNSW Call Number SAFE/PXE 1072.   Wallis arrived with the 46th regiment, on the same ship which brought Joseph Lycett as a convict. Both Preston and Lycett were prisoners under Wallis in Newcastle where Wallis ran the penal settlement between 1816 and 1818. Lycett was to receive fame, and a pardon, for his famous work "Views of Australia". Ultimately, both men were pardoned by Macquarie. Wallis departed Australia in 1819 and took toe plates with him to London, where this book was published by Ackermann in 1820.   "Wallis's book has a most important position in a collection of Australian plate books. It is the first book of general landscape views of early New South Wales, representing the first great celebration of the progress of the colony made under the civilising rule of Governor Macquarie and, indeed, of Wallis himself. It is also the first plate book, properly so called, to consist entirely of plates engraved in the colony by a colonial engraver". (Wantrup) Ferguson 842; Wantrup 217a.   Copper engraving with later hand-color, image 56 x 38 cm, with generous margins. Some light tanning from early matting. Very good overall. Item #7688
Price: $5,500.00

Hirschfeld-Mack Ludwigview full entry

Reference: see ‘From German WWII prisoner to important Australian modernist,’ in
Australian Financial Review, by Gabriela Coslovich Saleroom writer
Sep 7, 2022
Publishing details: [a copy insered in Two masters of the Weimar Bauhaus : Lyonel Feininger, Ludwig Hirschfeld Mack / catalogue by Nicholas Draffin]

Hirschfeld-Mack Ludwig view full entry

Reference: Ludwig Hirschfeld-Mack : more than a Bauhaus artist / Resi Schwarzbauer with Chris Bell ; foreword - Professor Andrew McNamara.
“Attracted by the visionary ideas of Walter Gropius, and the promise of a new world order following the First World War, Ludwig Hirschfeld-Mack was among the first students of the Weimer Bauhaus in 1919. In the company of talents such as Paul Klee, Wassily Kandinsky, Oskar Schlemmer and Josef Albers, he thrived in the atmosphere of creative freedom and artistic experimentation – but fell victim to the suppression of such ideals with the rise of Nazi Germany and the closure of the Bauhaus. From the battlefields of the Western Front, to the hellish sea journey on board the Dunera, and to the internment camps of New South Wales and Victoria. Hirschfeld-Mack’s story is one that it is linked inextricably to the major events of the twentieth century. Self-exile from Germany in 1936, and enforced separation from loved ones, became mandatory detention in Australia as an enemy alien. Unexpectedly, it was in Australia that he found peace and fulfillment as a teacher at Geelong Grammar School, and in the company of family, old and new. Riveting, inspiring and deeply moving, this book is a culmination of two decades of research, drawing on extensive private family achives and oral histories. For the first time, it reveals the full details of Hirschfeld-Mack’s extraordinary life as so much more than a Bauhaus artist – teacher, musician, inventor, performer, pacifist – a man of compassion and resilience. Ultimately, his story is a plea for creativity and enterprise, and stirring testament to our common humanity.”--Back cover.
Notes Colour illustrations on end papers.
Includes bibliographical references and index.
Publishing details: HistorySmiths, 2021, hc, xii, 352 pages, 40 pages of plates : illustrations (some colour), facsimiles (some colour), genealogical tables, portraits (some colour)

Barker Leachview full entry

Reference: see Gnowangerup Star (WA : 1941 - 1954)Sat 1 Mar 1947 page 1: Mr. Leach Barker, who recentlynb held an exhibition in water
colours at Albany which was
attended.by the Lieut. Governor,
Sir James Mitchell, is at present
staying accompanied by hi
daughter with Mr. and Mrs. H:
Wise of "Clear Valley ". Mr
Barker intends to record his ins
pressions of local scenery.   

Sort of Like Reading a Mapview full entry

Reference: ‘Sort of Like Reading a Map’:A Community Report on the Survival of
South-East Australian Aboriginal Art since 1834, by Fran Edmonds with Maree Clarke
Publishing details: Cooperative Research Centre for Aboriginal Health, 2009, 56pp
Ref: 1000

Aboriginal artview full entry

Reference: see ‘Sort of Like Reading a Map’:A Community Report on the Survival of
South-East Australian Aboriginal Art since 1834, by Fran Edmonds with Maree Clarke
Publishing details: Cooperative Research Centre for Aboriginal Health, 2009, 56pp

Dawson ‘Black Johnny’ p10-12view full entry

Reference: see ‘Sort of Like Reading a Map’:A Community Report on the Survival of
South-East Australian Aboriginal Art since 1834, by Fran Edmonds with Maree Clarke
Publishing details: Cooperative Research Centre for Aboriginal Health, 2009, 56pp

Barak William p13-15view full entry

Reference: see ‘Sort of Like Reading a Map’:A Community Report on the Survival of
South-East Australian Aboriginal Art since 1834, by Fran Edmonds with Maree Clarke
Publishing details: Cooperative Research Centre for Aboriginal Health, 2009, 56pp

McRae Tommy p13-15view full entry

Reference: see ‘Sort of Like Reading a Map’:A Community Report on the Survival of
South-East Australian Aboriginal Art since 1834, by Fran Edmonds with Maree Clarke
Publishing details: Cooperative Research Centre for Aboriginal Health, 2009, 56pp

Cummeragunja
children’s drawingsview full entry

Reference: see ‘Sort of Like Reading a Map’:A Community Report on the Survival of
South-East Australian Aboriginal Art since 1834, by Fran Edmonds with Maree Clarke
Publishing details: Cooperative Research Centre for Aboriginal Health, 2009, 56pp

Bull Ronald - Landscapes and prison artview full entry

Reference: see ‘Sort of Like Reading a Map’:A Community Report on the Survival of
South-East Australian Aboriginal Art since 1834, by Fran Edmonds with Maree Clarke
Publishing details: Cooperative Research Centre for Aboriginal Health, 2009, 56pp

Onus Lin p25-6view full entry

Reference: see ‘Sort of Like Reading a Map’:A Community Report on the Survival of
South-East Australian Aboriginal Art since 1834, by Fran Edmonds with Maree Clarke
Publishing details: Cooperative Research Centre for Aboriginal Health, 2009, 56pp

BEEM artists’ muralview full entry

Reference: see ‘Sort of Like Reading a Map’:A Community Report on the Survival of
South-East Australian Aboriginal Art since 1834, by Fran Edmonds with Maree Clarke
Publishing details: Cooperative Research Centre for Aboriginal Health, 2009, 56pp

Leason Percyview full entry

Reference: The Last of the Victorian Aborigines: Issued in Connection with an Exhibition of Portraits at the Athenaeum Gallery, Collins St.,
Publishing details: Melbourne, September 1934, Public Library of Victoria, Melbourne, p. 5;
Ref: 1000

Earle Augustsview full entry

Reference: Graham, Maria: Journal of a residence in Chile, during the year 1822. And a voyage from Chile to Brazil in 1823.
(Einband, besonders Ecken und Kanten, berieben. Rücken aufgehellt. Front., Titel, Vorwort und S. 1 gestempelt. Die ersten 6 Bll. in der Bindung gelöst. Tafeln leicht feuchtfleckig, sonst geringe Altersspuren.)

Sabin 28234. Vgl. Borba de Moraes I, S. 314 (nennt nur "Journal of a voyage to Brasil" aus demselben Jahr). - "This extraordinary woman visited Brazil three times. First, aboard the frigate 'Doris' commanded by her husband, Thomas Graham, on a voyage to Chili. Second, on the return voyage to England, after having become a widow in Chili. Third, in 1824, at the invitation of D. Pedro, to become the Governess to D. Maria da Gloria ... Maria Graham was not only a writer posessing genuine talent, but she was also an interesting designer. The greater part of the plates which illustrate her book are reproductions from her own drawings. The others were made by Augustus Earle, a young English artist whom she met in Rio." (Borba de Moraes).
Publishing details: London: Longman, Hurst, Rees u.a. 1824. 27,2 x 21,2 cm. Mit 14 Aquatintatafeln und 11 Holzstichen auf dem Titel und im Text. V SS., 1 Bl., 512 SS. Mod. HLdr. mit Rs.

Ref: 1000

Campbell Cressidaview full entry

Reference: see Sydney Morning Hearld, ‘The Two of Us’ (Crtessid\a Campbell and husband Warren Macris), 17.9.22 in Good Weekend.
Publishing details: [A copy inserted in The woodblock paintings of Cressida Campbell by Peter Crayford.]

Holzhandler Dora (French-British, 1928-2015)view full entry

Reference: see Stansted Mountfitchet, Essex, UK, 4.10.22, lot 144: Dora Holzhandler (French-British, 1928-2015) 'Flower Shop, Launceston' signed 'DORA HOLZHANDLER' l.c., inscribed with title verso,  67 x 51cm Provenance: Crane Arts Ltd., London, December 1981 (Mr El-Rayyes).

NGV magazineview full entry

Reference: NGV Magazine, published bimonthly by the National Gallery of Victoria. All editions from 2016 to be indexed.
Publishing details: National Gallery of Victoria, 2016-
volumes : colour illustrations, portraits ;
Ref: 1009

Williams Fredview full entry

Reference: NGV Magazine, ‘Fred Williams - The London Drawings.’ By Cathy Leahy. Relates to the upcoming exhibition at NGV
Publishing details: National Gallery of Victoria, September October 2022,

Griffin Marion Mahonyview full entry

Reference: ‘The Magic of Griffin Marion Mahony,’ by Glenda Korperal. Article in NGV Magazine, Article relates to NGV acquisition of stained glass window.
Publishing details: National Gallery of Victoria, September October 2022,

Liew Khai designerview full entry

Reference: see NGV Magazine, ‘article ‘A Master Craftsman’
Publishing details: National Gallery of Victoria, September October 2022,

Williams Frededview full entry

Reference: Fred Williams - The London Drawings, edited by Vathy Leahy
Publishing details: NGV, 2022,
Ref: 1000

Broadfoot,Kate
view full entry

Reference: Painting Australian landscapes : in easy steps - a plein air oil painting instruction book / by Kate Broadfoot

Publishing details: Woonona, N.S.W. : Bonn Accord Arts and Crafts, ©2011
Ref: 1000

Back of the Paintingview full entry

Reference: The Back of the Painting: Secrets and stories from art conservation,
by Sarah Hillary (Author), Linda Waters (Author), Jenny Sherman (Author).
The seal of the Prince of Yugoslavia, the icon that protected persecuted Russians, Monet’s repurposed canvas, the excised first wife, the stolen Tissot … all these stories can be found on the backs of paintings in New Zealand art museums. This fascinating book by three painting conservators explores the backs of 33 paintings, ranging from 15th century artworks to the present day, from Claude Lorrain to Ralph Hotere, and held in the collections of the Museum of New Zealand Te Papa Tongarewa, the Auckland Art Gallery Toi o Tamaki, and the Dunedin Public Art Gallery. Join them on their art-detective explorations.
Publishing details: Te Papa Press, 2021, Paperback ‏ : ‎ 248 pages
Ref: 1009

Webber John chapter view full entry

Reference: see The Back of the Painting: Secrets and stories from art conservation,
by Sarah Hillary (Author), Linda Waters (Author), Jenny Sherman (Author).
The seal of the Prince of Yugoslavia, the icon that protected persecuted Russians, Monet’s repurposed canvas, the excised first wife, the stolen Tissot … all these stories can be found on the backs of paintings in New Zealand art museums. This fascinating book by three painting conservators explores the backs of 33 paintings, ranging from 15th century artworks to the present day, from Claude Lorrain to Ralph Hotere, and held in the collections of the Museum of New Zealand Te Papa Tongarewa, the Auckland Art Gallery Toi o Tamaki, and the Dunedin Public Art Gallery. Join them on their art-detective explorations.
Publishing details: Te Papa Press, 2021, Paperback ‏ : ‎ 248 pages

van der Velden Petrus chapter view full entry

Reference: see The Back of the Painting: Secrets and stories from art conservation,
by Sarah Hillary (Author), Linda Waters (Author), Jenny Sherman (Author).
The seal of the Prince of Yugoslavia, the icon that protected persecuted Russians, Monet’s repurposed canvas, the excised first wife, the stolen Tissot … all these stories can be found on the backs of paintings in New Zealand art museums. This fascinating book by three painting conservators explores the backs of 33 paintings, ranging from 15th century artworks to the present day, from Claude Lorrain to Ralph Hotere, and held in the collections of the Museum of New Zealand Te Papa Tongarewa, the Auckland Art Gallery Toi o Tamaki, and the Dunedin Public Art Gallery. Join them on their art-detective explorations.
Publishing details: Te Papa Press, 2021, Paperback ‏ : ‎ 248 pages

researchview full entry

Reference: see The Back of the Painting: Secrets and stories from art conservation,
by Sarah Hillary (Author), Linda Waters (Author), Jenny Sherman (Author).
The seal of the Prince of Yugoslavia, the icon that protected persecuted Russians, Monet’s repurposed canvas, the excised first wife, the stolen Tissot … all these stories can be found on the backs of paintings in New Zealand art museums. This fascinating book by three painting conservators explores the backs of 33 paintings, ranging from 15th century artworks to the present day, from Claude Lorrain to Ralph Hotere, and held in the collections of the Museum of New Zealand Te Papa Tongarewa, the Auckland Art Gallery Toi o Tamaki, and the Dunedin Public Art Gallery. Join them on their art-detective explorations.
Publishing details: Te Papa Press, 2021, Paperback ‏ : ‎ 248 pages

de Lough Edward Joseph p167 263view full entry

Reference: see Picturing a Nation - The art and life of A.H. Fullwood, by Gary Werskey. With index. [’The untold story of a major Australian artist. Regarded in his day as an important Australian impressionist painter, A.H. Fullwood (1863–1930) was also the most widely viewed British–Australian artist of the Heidelberg era. Fullwood's illustrations for the popular Picturesque Atlas of Australasia and the Bulletin, as well as leading Australian and English newspapers, helped shape how settler–colonial Australia was seen both here and around the world. Meanwhile his paintings were as celebrated as those of his good friends Tom Roberts and Arthur Streeton. So why is Fullwood so little known today? In this pioneering, richly illustrated biography, Gary Werskey brings Fullwood and his extraordinary career as an illustrator, painter, and war artist back to life, while casting a new light on the most fabled era in the history of Australian art.’]
Publishing details: NewSouth Publishing, 2020, hc, 352pp, coppy signed by the author.

Nankivell Frank p166-7view full entry

Reference: see Picturing a Nation - The art and life of A.H. Fullwood, by Gary Werskey. With index. [’The untold story of a major Australian artist. Regarded in his day as an important Australian impressionist painter, A.H. Fullwood (1863–1930) was also the most widely viewed British–Australian artist of the Heidelberg era. Fullwood's illustrations for the popular Picturesque Atlas of Australasia and the Bulletin, as well as leading Australian and English newspapers, helped shape how settler–colonial Australia was seen both here and around the world. Meanwhile his paintings were as celebrated as those of his good friends Tom Roberts and Arthur Streeton. So why is Fullwood so little known today? In this pioneering, richly illustrated biography, Gary Werskey brings Fullwood and his extraordinary career as an illustrator, painter, and war artist back to life, while casting a new light on the most fabled era in the history of Australian art.’]
Publishing details: NewSouth Publishing, 2020, hc, 352pp, coppy signed by the author.

Blashki Myer aka Miles Evergoodview full entry

Reference: see Picturing a Nation - The art and life of A.H. Fullwood, by Gary Werskey. With index. [’The untold story of a major Australian artist. Regarded in his day as an important Australian impressionist painter, A.H. Fullwood (1863–1930) was also the most widely viewed British–Australian artist of the Heidelberg era. Fullwood's illustrations for the popular Picturesque Atlas of Australasia and the Bulletin, as well as leading Australian and English newspapers, helped shape how settler–colonial Australia was seen both here and around the world. Meanwhile his paintings were as celebrated as those of his good friends Tom Roberts and Arthur Streeton. So why is Fullwood so little known today? In this pioneering, richly illustrated biography, Gary Werskey brings Fullwood and his extraordinary career as an illustrator, painter, and war artist back to life, while casting a new light on the most fabled era in the history of Australian art.’]
Publishing details: NewSouth Publishing, 2020, hc, 352pp, coppy signed by the author.

Duterrau Benjaminview full entry

Reference: see The Saturday Paper, September 17-23, 2022, p 26 Interv=iew with Greg Lehman by Neha Kale, ahead of 3-part SBS series ‘The Australian Wars, commencing 21.9.2022 on SBS. Lehman discusses Duterrau and The Conciliation.
Publishing details: [copy inserted in The National Picture, NGA]

Finlay Mariaview full entry

Reference: see Lawson’s auction The Maria Finlay Collection, Double Bay, Sept 21, 2022, includes work by Maraia Findlay, gouache on arches paper, dated around 2000, of Paddington Street scenes, 2 oil landscapes and an oil landscape after Kokoschka

Cox Ian 1930-2022 illustrator and art director SMHview full entry

Reference: Sydney Morning Herald obituary for Ian Cox 1930-2022, 21.9.22, p 33. Written by Lindsay Foyle. Cox was illustrator and from 1967 Director of the SMH art department.
Ref: 145

Foyle Lindsay cartoonistview full entry

Reference: see Sydney Morning Herald obituary for Ian Cox 1930-2022, 21.9.22, p 33. Written by Lindsay Foyle. Cox was illustrator and from 1967 Director of the SMH art department.

Nicholas William Nick art director SMH referenceview full entry

Reference: see Sydney Morning Herald obituary for Ian Cox 1930-2022, 21.9.22, p 33. Written by Lindsay Foyle. Cox was illustrator and from 1967 Director of the SMH art department.

Gould Strom art director SMH referenceview full entry

Reference: see Sydney Morning Herald obituary for Ian Cox 1930-2022, 21.9.22, p 33. Written by Lindsay Foyle. Cox was illustrator and from 1967 Director of the SMH art department.

McCarthy Eugene (Gene) art director SMH referenceview full entry

Reference: see Sydney Morning Herald obituary for Ian Cox 1930-2022, 21.9.22, p 33. Written by Lindsay Foyle. Cox was illustrator and from 1967 Director of the SMH art department.

Swanson Jim art director SMH referenceview full entry

Reference: see Sydney Morning Herald obituary for Ian Cox 1930-2022, 21.9.22, p 33. Written by Lindsay Foyle. Cox was illustrator and from 1967 Director of the SMH art department.

Frith John cartoonist 1944 SMH referenceview full entry

Reference: see Sydney Morning Herald obituary for Ian Cox 1930-2022, 21.9.22, p 33. Written by Lindsay Foyle. Cox was illustrator and from 1967 Director of the SMH art department.

Eyre Hal cartoonist from 1944 SMH referenceview full entry

Reference: see Sydney Morning Herald obituary for Ian Cox 1930-2022, 21.9.22, p 33. Written by Lindsay Foyle. Cox was illustrator and from 1967 Director of the SMH art department.

Peterson Stuart cartoonist from 1944 SMH referenceview full entry

Reference: see Sydney Morning Herald obituary for Ian Cox 1930-2022, 21.9.22, p 33. Written by Lindsay Foyle. Cox was illustrator and from 1967 Director of the SMH art department.

Inson Graham reference to his portrait of Ian Coxview full entry

Reference: see Sydney Morning Herald obituary for Ian Cox 1930-2022, 21.9.22, p 33. Written by Lindsay Foyle. Cox was illustrator and from 1967 Director of the SMH art department.

red thread of history, loose ends view full entry

Reference: Judy Watson & Helen Johnson: the red thread of history, loose ends is at Monash University Museum of Art (MUMA) until November 12, and will be at Museum of Art and Culture, yapang, NSW from May 2023.
Publishing details: MUMA, 2022, [catalogue details to bed entered]
Ref: 1000

Watson Judy view full entry

Reference: see Judy Watson & Helen Johnson: the red thread of history, loose ends is at Monash University Museum of Art (MUMA) until November 12, and will be at Museum of Art and Culture, yapang, NSW from May 2023.
Publishing details: MUMA, 2022, [catalogue details to bed entered]

Johnson Helen view full entry

Reference: see Judy Watson & Helen Johnson: the red thread of history, loose ends is at Monash University Museum of Art (MUMA) until November 12, and will be at Museum of Art and Culture, yapang, NSW from May 2023.
Publishing details: MUMA, 2022, [catalogue details to bed entered]

Johnson Helen view full entry

Reference: see ‘How artists Judy Watson and Helen Johnson are stripping back Australia’s ‘white blanket of forgetfulness’, by Juklie Shiels in The Conversation,
Published: September 21, 2022.

Watson Judy view full entry

Reference: see ‘How artists Judy Watson and Helen Johnson are stripping back Australia’s ‘white blanket of forgetfulness’, by Juklie Shiels in The Conversation,
Published: September 21, 2022.

Richards Mickview full entry

Reference: Above and Below, by Mick Richjards.
"Mick Richards is a Brisbane-based artist. This book is a survey of over 200 photographs, selected from more than half a million film and digital images from 1984-2021. Richard's remarkable social documentary photography has taken him to Asia, South America, the Pacific and Europe. His photogrpahs expose social codes, rituals, and traditions. They reveal community leadership and resilience; unspoken power by exposing colonial realities and dysfunction; they highlight social-cultural acceptance on sports grounds, in clubs, theatres and galleries. They cover the field." (publisher's blurb)
Publishing details: Gold Coast: Keeaira Press, 2022. 272 pages, colour illustrations. Pictorial wrappers.
Ref: 1000

Delaney Sandra view full entry

Reference: Quandamooka Dreaming, by Sandra Delaney.
Publishing details: Brisbane: Boolarong Press, 2013.. xii, 51 pages, colour illustrations. Illustrated wrappers.

Ref: 1000

Two Sistersview full entry

Reference: TWO SISTERS: A SINGULAR VISION: CELEBRATING THE GIFTS OF MARGARET AND CATHRYN MITTELHEUSER, by Chris Saines; Diane Moon. Catalogue of an exhibition at the Queensland Art Gallery 18 July 2020 - 31 January 2021.
Publishing details: Brisbane: Queensland Art Gallery, Gallery of Modern Art, 2021.
First Edition.
21cm x 22.5cm. 112 pages, colour illustrations. Illustrated french fold wrappers.

Ref: 1000

MITTELHEUSER MARGARET AND CATHRYN view full entry

Reference: see TWO SISTERS: A SINGULAR VISION: CELEBRATING THE GIFTS OF MARGARET AND CATHRYN MITTELHEUSER, by Chris Saines; Diane Moon. Catalogue of an exhibition at the Queensland Art Gallery 18 July 2020 - 31 January 2021.
Publishing details: Brisbane: Queensland Art Gallery, Gallery of Modern Art, 2021.
First Edition.
21cm x 22.5cm. 112 pages, colour illustrations. Illustrated french fold wrappers.

Queensland Art Galleryview full entry

Reference: see TWO SISTERS: A SINGULAR VISION: CELEBRATING THE GIFTS OF MARGARET AND CATHRYN MITTELHEUSER, by Chris Saines; Diane Moon. Catalogue of an exhibition at the Queensland Art Gallery 18 July 2020 - 31 January 2021.
Publishing details: Brisbane: Queensland Art Gallery, Gallery of Modern Art, 2021.
First Edition.
21cm x 22.5cm. 112 pages, colour illustrations. Illustrated french fold wrappers.

SHAPING CANBERRAview full entry

Reference: SHAPING CANBERRA: THE LIVED EXPERIENCE OF A CHANGING LANDSCAPE, by Mary Hutchison; Ruth Hingston
Catalogue of an Exhibition at the School of Art Gallery, ANU 18 September - 19 October 2013
Publishing details: Canberra: Australian National University, 2013.
First Edition.
21cm x 21cm. 64 pages, colour illustrations. Pictorial wrappers.
Ref: 1000

CANBERRA ARTview full entry

Reference: see SHAPING CANBERRA: THE LIVED EXPERIENCE OF A CHANGING LANDSCAPE, by Mary Hutchison; Ruth Hingston
Catalogue of an Exhibition at the School of Art Gallery, ANU 18 September - 19 October 2013
Publishing details: Canberra: Australian National University, 2013.
First Edition.
21cm x 21cm. 64 pages, colour illustrations. Pictorial wrappers.

Allen Davidaview full entry

Reference: DAVIDA ALLEN: IN THE MOMENT, by Davida Allen; Angela Goddard.
Catalogue of an exhibition held 3 May-30 June 2018.
Publishing details: Brisbane: Griffith University Art Museum, 2018.
First Edition.
26.5cm x 21cm. 80 pages, colour illustrations. Illustrated french fold wrappers.
Ref: 1000

Lindsay familyview full entry

Reference: see Life Rarely Tells - an Australian boyhood. An Australian Boyhood. An Autobiographical Account Ending in the Year 1921 and Situated Mostly in Brisbane, Queensland. Includes numerous descriptions of Norman Lindsay, as well as illustrations and photographs.

Publishing details: Bodley Head, 1858, hc, dw, 224pp

Lindsay Normanview full entry

Reference: see Life Rarely Tells - an Australian boyhood. An Australian Boyhood. An Autobiographical Account Ending in the Year 1921 and Situated Mostly in Brisbane, Queensland. Includes numerous descriptions of Norman Lindsay, as well as illustrations and photographs.

Publishing details: Bodley Head, 1858, hc, dw, 224pp

SELECTION FROM THE DOWNLANDS ART COLLECTIONview full entry

Reference: A SELECTION FROM THE DOWNLANDS ART COLLECTION, TOOWOOMBA REGIONAL ART GALLERY MARCH 24-APRIL 17, 1995, by Tony McCulkin

Publishing details: Toowoomba: Downlands College, 1995.
First Edition.
29.5cm x 25.5cm. 94 pages, illustrations, some colour. Illustrated wrappers.

Ref: 1000

DOWNLANDS ART COLLECTIONview full entry

Reference: see A SELECTION FROM THE DOWNLANDS ART COLLECTION, TOOWOOMBA REGIONAL ART GALLERY MARCH 24-APRIL 17, 1995, by Tony McCulkin

Publishing details: Toowoomba: Downlands College, 1995.
First Edition.
29.5cm x 25.5cm. 94 pages, illustrations, some colour. Illustrated wrappers.

Toowoomba Regional Art Galleryview full entry

Reference: see A SELECTION FROM THE DOWNLANDS ART COLLECTION, TOOWOOMBA REGIONAL ART GALLERY MARCH 24-APRIL 17, 1995, by Tony McCulkin

Publishing details: Toowoomba: Downlands College, 1995.
First Edition.
29.5cm x 25.5cm. 94 pages, illustrations, some colour. Illustrated wrappers.

IVAN DOUGHERTY GALLERY: 30TH ANNIVERSARYview full entry

Reference: IVAN DOUGHERTY GALLERY: 30TH ANNIVERSARY [30 YEARS, 1977-2007] by Felicity Fenner
Publishing details: Sydney: Ivan Dougherty Gallery, College of Fine Arts, University of New South Wales, 2007.
First Edition.
22.5cm x 21cm. 64 pages, colour illustrations. Illustrated wrappers.
Ref: 1009

Setek John view full entry

Reference: SMALL WOOD-BLOCK PRINTS
Queensland private press using an Adan 8X5 with Van Son ink to print curios offered by a local shop of Indian design motifs. Unnumbered edition of 120 copies. Unrecorded in Trove, 1 copy in OCLC, at MOTAT, Walsh Memorial Library.

Publishing details: [Gold Coast]: John Setek, 2001.
First Edition.
7.5cm x 8.5cm. [9] leaves (printed recto only), colour illustrations. Comb bound.

Ref: 1000

Setek John view full entry

Reference: A SMALL INVENTORY OF ZINC TYPE
John Setek

Publishing details: Gold Coast: John Setek, 2002.
First Edition.
14.5cm x 10.5cm. [8] pages. Lettered saddle-sewn wrappers.
Made from cases and type by the Kingsley Machine Co., Hollywood. Mono- type Number 12. Unnumbered edition of 50 copies. Unrecorded in Trove or OCLC.
Ref: 1000

Setek John view full entry

Reference: MONOTYPE MACHINE CODE
John Setek
Queensland private press booklet on the Monotype Composition Caster and its matrix case. Mono-type Number 14. Utility Press Item No. 59. Unnumbered edition of 30 copies. Unrecorded in Trove or OCLC.
Publishing details: Gold Coast: Utility Press, 2002.
First Edition.
21cm x 14.5cm. [8] pages, 2 monotype perforated ribbon readers. Illustrated saddle-sewn wrappers.
Ref: 1000

Setek John view full entry

Reference: ENGRAVING MATRICIES FOR THE MONOTYPE SUPER CASTER
John Setek
Queensland private press experiment in matrix engraving. Mono-type Number 12. Utility Press Item No. 57. Unnumbered edition of 50 copies. 2 copies in OCLC, at State Library Victoria and MOTAT, Walsh Memorial Library.

Publishing details: Gold Coast: Utility Press, 2002.
First Edition.
21cm x 11cm. [4] pages. Lettered saddle-sewn wrappers.
Ref: 1000

KISS OF THE BEASTview full entry

Reference: KISS OF THE BEAST: FROM PARIS SALON TO KING KONG, by Ted Gott; Kathryn Weir

Publishing details: Brisbane: Queensland Art Gallery Publishing, 2005.
First Edition.
25cm x 21cm. [126] pages, illustrations, some colour. Illustrated french fold wrappers.
Ref: 1000

Dupain Maxview full entry

Reference: in THE MASTERS VOLUME 1: A SPECIAL ISSUE OF NOT ONLY BLACK + WHITE MAGAZINE, by Marcello GrandA special issue of Not Only Black + White featuring the work of Walter Chin, Bettina Rheims, Greg Gorman, Nick Knight, Albert Watson, David Lachapelle, Paulo Roversi, Annie Leibovitz, Herb Ritts, Ellen Von Unwerth, David Bailey, Mario Sorrenti, Max Dupain, and Jeanloup Sieff. Published between 1992 and 2007 Black+White was a coffee table format magazine which featured work from some of the world's top photographers, often nude or semi-nude portraiture, together with interviews with photographers and celebrities and articles on popular culture and current events.

Publishing details: Sydney: Studio Magazines, 1997.
First Edition.
32cm x 24cm. 228 pages, illustrations, some colour. Pictorial wrappers.

Ref: 1000

Morley Lewisview full entry

Reference: in THE MASTERS VOLUME 3: A SPECIAL ISSUE OF NOT ONLY BLACK + WHITE MAGAZINE, by Marcello Grand
A special issue of Not Only Black + White featuring the work of Nobuyoshi Araki, Gian Paolo Barbieri, Andreas H. Bitesnich, Erwin Blumenfeld, Bob Carlos Clarke, Anton Corbijn, Dominique Issermann, Richard Kern, Inez Van Lamsweerde & Vinoodh Matadin, Mary Ellen Mark, Lewis Morley, Jan Saudek, Francesco Scavullo, and Jock Sturges. Published between 1992 and 2007 Black+White was a coffee table format magazine which featured work from some of the world's top photographers, often nude or semi-nude portraiture, together with interviews with photographers and celebrities and articles on popular culture and current events.

Publishing details: Sydney: Studio Magazines, [2001].
First Edition.
32cm x 24cm. 208 pages, illustrations, some colour. Pictorial french fold wrappers.
Ref: 1000

McRae Tommyview full entry

Reference: see The Presence of Absence: Tommy McRae and Judy Watson in Australia, the imaginary grandstand at the Royal Academy in London, by Khadija von Zinnenburg Carroll. in World Art
Publishing details: article published online

Watson Judyview full entry

Reference: see The Presence of Absence: Tommy McRaeb and Judy Watson in Australia, the imaginary grandstand at the Royal Academy in London, by Khadija von Zinnenburg Carroll. in World Art
Publishing details: article published online

Foreign Field Sportsview full entry

Reference: [HOWITT, Samuel ([?]1765-1822, artist)]. Foreign Field Sports ... With a Supplement of New South Wales,
[HOWITT, Samuel ([?]1765-1822, artist)], and others. Foreign Field Sports, Fisheries, Sporting Anecedotes .... From Drawings by Messrs. Howitt, Atkinson, Clark, Manskirch. With A Supplement of New South Wales. Containing One Hundred and Ten Plates. London: "Published and Sold by H. R. Young", with imprint "Printed by J. M'Creery, Black-Horse-Court, London" on verso of title, 1819 [but plates dated 1813]. Folio (328 x 230mm). 110 fine hand-coloured aquatint plates by Samuel Howitt and others (the first plate offset onto title, occasional offsetting of other plates onto text and some very light mainly marginal spotting and staining). FINELY BOUND in contemporary straight-grained scarlet morocco gilt [unsigned] with borders decorated in gilt and blind, gilt edges (very skilfully and inconspicuously rebacked preserving original spine, extremities rubbed, some light scuffing). Second edition. "The plates illustrate every kind of hunting, trapping and adventure. Some are so theatrical as to be almost comic - witness the picture of the Indian bobbing up in the waves beside the turtle. Among the plates are a valuable set of thirteen in gay colours, illustrating a bull-fight. The artist employed were J. H. Clark, S. Howitt, and F. Mansckirch, a German painter who resided for some ten years at this period in England. The engravings are almost entirely by Dubourg, whose name appears alone or in conjunction with another on over seventy of the hundred plates. His principal helpers were Howitt and Merke. To quote the enticing words of another bookseller's catalogue, 'every plate is worthy of framing.' There is a supplementary series of ten plates dealing with Field Sports ... of New South Wales, dated 1813, with ten plates by J. H. Clark. A second edition of the whole appeared in 1819, 'published and sold by H. R. Young' ..." (Hardie). Abbey Travel 2; not in Brunet; Ferguson Bibliography of Australia 739; Hardie English Coloured Books p.136; Nissen ZBI 2019; Schwerdt I, p.179: "... the most beautiful book on Indian sport in existence ..."; Slater Illustrated Sporting Books p.49; Tooley 225; Wantrup Australian Rare Books 1788-1900 p.280: "[The ten plates of the New South Wales supplement include] without doubt the most attractive and sympathetic of the early European depictions of the native inhabitants."
Information from Bellmans auction, 11 October, 2022, lot 206
Publishing details: London, 1819, folio, 110 hand-coloured aquatint plates by Samuel Howitt and others, FINELY BOUND in contemporary red morocco gilt. Second edition.

Ref: 1000

Howitt Samuelview full entry

Reference: [HOWITT, Samuel ([?]1765-1822, artist)]. Foreign Field Sports ... With a Supplement of New South Wales,
[HOWITT, Samuel ([?]1765-1822, artist)], and others. Foreign Field Sports, Fisheries, Sporting Anecedotes .... From Drawings by Messrs. Howitt, Atkinson, Clark, Manskirch. With A Supplement of New South Wales. Containing One Hundred and Ten Plates. London: "Published and Sold by H. R. Young", with imprint "Printed by J. M'Creery, Black-Horse-Court, London" on verso of title, 1819 [but plates dated 1813]. Folio (328 x 230mm). 110 fine hand-coloured aquatint plates by Samuel Howitt and others (the first plate offset onto title, occasional offsetting of other plates onto text and some very light mainly marginal spotting and staining). FINELY BOUND in contemporary straight-grained scarlet morocco gilt [unsigned] with borders decorated in gilt and blind, gilt edges (very skilfully and inconspicuously rebacked preserving original spine, extremities rubbed, some light scuffing). Second edition. "The plates illustrate every kind of hunting, trapping and adventure. Some are so theatrical as to be almost comic - witness the picture of the Indian bobbing up in the waves beside the turtle. Among the plates are a valuable set of thirteen in gay colours, illustrating a bull-fight. The artist employed were J. H. Clark, S. Howitt, and F. Mansckirch, a German painter who resided for some ten years at this period in England. The engravings are almost entirely by Dubourg, whose name appears alone or in conjunction with another on over seventy of the hundred plates. His principal helpers were Howitt and Merke. To quote the enticing words of another bookseller's catalogue, 'every plate is worthy of framing.' There is a supplementary series of ten plates dealing with Field Sports ... of New South Wales, dated 1813, with ten plates by J. H. Clark. A second edition of the whole appeared in 1819, 'published and sold by H. R. Young' ..." (Hardie). Abbey Travel 2; not in Brunet; Ferguson Bibliography of Australia 739; Hardie English Coloured Books p.136; Nissen ZBI 2019; Schwerdt I, p.179: "... the most beautiful book on Indian sport in existence ..."; Slater Illustrated Sporting Books p.49; Tooley 225; Wantrup Australian Rare Books 1788-1900 p.280: "[The ten plates of the New South Wales supplement include] without doubt the most attractive and sympathetic of the early European depictions of the native inhabitants."
Information from Bellmans auction, 11 October, 2022, lot 206
Publishing details: London, 1819, folio, 110 hand-coloured aquatint plates by Samuel Howitt and others, FINELY BOUND in contemporary red morocco gilt. Second edition.

Clark J H view full entry

Reference: [HOWITT, Samuel ([?]1765-1822, artist)]. Foreign Field Sports ... With a Supplement of New South Wales,
[HOWITT, Samuel ([?]1765-1822, artist)], and others. Foreign Field Sports, Fisheries, Sporting Anecedotes .... From Drawings by Messrs. Howitt, Atkinson, Clark, Manskirch. With A Supplement of New South Wales. Containing One Hundred and Ten Plates. London: "Published and Sold by H. R. Young", with imprint "Printed by J. M'Creery, Black-Horse-Court, London" on verso of title, 1819 [but plates dated 1813]. Folio (328 x 230mm). 110 fine hand-coloured aquatint plates by Samuel Howitt and others (the first plate offset onto title, occasional offsetting of other plates onto text and some very light mainly marginal spotting and staining). FINELY BOUND in contemporary straight-grained scarlet morocco gilt [unsigned] with borders decorated in gilt and blind, gilt edges (very skilfully and inconspicuously rebacked preserving original spine, extremities rubbed, some light scuffing). Second edition. "The plates illustrate every kind of hunting, trapping and adventure. Some are so theatrical as to be almost comic - witness the picture of the Indian bobbing up in the waves beside the turtle. Among the plates are a valuable set of thirteen in gay colours, illustrating a bull-fight. The artist employed were J. H. Clark, S. Howitt, and F. Mansckirch, a German painter who resided for some ten years at this period in England. The engravings are almost entirely by Dubourg, whose name appears alone or in conjunction with another on over seventy of the hundred plates. His principal helpers were Howitt and Merke. To quote the enticing words of another bookseller's catalogue, 'every plate is worthy of framing.' There is a supplementary series of ten plates dealing with Field Sports ... of New South Wales, dated 1813, with ten plates by J. H. Clark. A second edition of the whole appeared in 1819, 'published and sold by H. R. Young' ..." (Hardie). Abbey Travel 2; not in Brunet; Ferguson Bibliography of Australia 739; Hardie English Coloured Books p.136; Nissen ZBI 2019; Schwerdt I, p.179: "... the most beautiful book on Indian sport in existence ..."; Slater Illustrated Sporting Books p.49; Tooley 225; Wantrup Australian Rare Books 1788-1900 p.280: "[The ten plates of the New South Wales supplement include] without doubt the most attractive and sympathetic of the early European depictions of the native inhabitants."
Information from Bellmans auction, 11 October, 2022, lot 206
Publishing details: London, 1819, folio, 110 hand-coloured aquatint plates by Samuel Howitt and others, FINELY BOUND in contemporary red morocco gilt. Second edition.

Mansckirch Fview full entry

Reference: [HOWITT, Samuel ([?]1765-1822, artist)]. Foreign Field Sports ... With a Supplement of New South Wales,
[HOWITT, Samuel ([?]1765-1822, artist)], and others. Foreign Field Sports, Fisheries, Sporting Anecedotes .... From Drawings by Messrs. Howitt, Atkinson, Clark, Manskirch. With A Supplement of New South Wales. Containing One Hundred and Ten Plates. London: "Published and Sold by H. R. Young", with imprint "Printed by J. M'Creery, Black-Horse-Court, London" on verso of title, 1819 [but plates dated 1813]. Folio (328 x 230mm). 110 fine hand-coloured aquatint plates by Samuel Howitt and others (the first plate offset onto title, occasional offsetting of other plates onto text and some very light mainly marginal spotting and staining). FINELY BOUND in contemporary straight-grained scarlet morocco gilt [unsigned] with borders decorated in gilt and blind, gilt edges (very skilfully and inconspicuously rebacked preserving original spine, extremities rubbed, some light scuffing). Second edition. "The plates illustrate every kind of hunting, trapping and adventure. Some are so theatrical as to be almost comic - witness the picture of the Indian bobbing up in the waves beside the turtle. Among the plates are a valuable set of thirteen in gay colours, illustrating a bull-fight. The artist employed were J. H. Clark, S. Howitt, and F. Mansckirch, a German painter who resided for some ten years at this period in England. The engravings are almost entirely by Dubourg, whose name appears alone or in conjunction with another on over seventy of the hundred plates. His principal helpers were Howitt and Merke. To quote the enticing words of another bookseller's catalogue, 'every plate is worthy of framing.' There is a supplementary series of ten plates dealing with Field Sports ... of New South Wales, dated 1813, with ten plates by J. H. Clark. A second edition of the whole appeared in 1819, 'published and sold by H. R. Young' ..." (Hardie). Abbey Travel 2; not in Brunet; Ferguson Bibliography of Australia 739; Hardie English Coloured Books p.136; Nissen ZBI 2019; Schwerdt I, p.179: "... the most beautiful book on Indian sport in existence ..."; Slater Illustrated Sporting Books p.49; Tooley 225; Wantrup Australian Rare Books 1788-1900 p.280: "[The ten plates of the New South Wales supplement include] without doubt the most attractive and sympathetic of the early European depictions of the native inhabitants."
Information from Bellmans auction, 11 October, 2022, lot 206
Publishing details: London, 1819, folio, 110 hand-coloured aquatint plates by Samuel Howitt and others, FINELY BOUND in contemporary red morocco gilt. Second edition.

Dubourg engraverview full entry

Reference: [HOWITT, Samuel ([?]1765-1822, artist)]. Foreign Field Sports ... With a Supplement of New South Wales,
[HOWITT, Samuel ([?]1765-1822, artist)], and others. Foreign Field Sports, Fisheries, Sporting Anecedotes .... From Drawings by Messrs. Howitt, Atkinson, Clark, Manskirch. With A Supplement of New South Wales. Containing One Hundred and Ten Plates. London: "Published and Sold by H. R. Young", with imprint "Printed by J. M'Creery, Black-Horse-Court, London" on verso of title, 1819 [but plates dated 1813]. Folio (328 x 230mm). 110 fine hand-coloured aquatint plates by Samuel Howitt and others (the first plate offset onto title, occasional offsetting of other plates onto text and some very light mainly marginal spotting and staining). FINELY BOUND in contemporary straight-grained scarlet morocco gilt [unsigned] with borders decorated in gilt and blind, gilt edges (very skilfully and inconspicuously rebacked preserving original spine, extremities rubbed, some light scuffing). Second edition. "The plates illustrate every kind of hunting, trapping and adventure. Some are so theatrical as to be almost comic - witness the picture of the Indian bobbing up in the waves beside the turtle. Among the plates are a valuable set of thirteen in gay colours, illustrating a bull-fight. The artist employed were J. H. Clark, S. Howitt, and F. Mansckirch, a German painter who resided for some ten years at this period in England. The engravings are almost entirely by Dubourg, whose name appears alone or in conjunction with another on over seventy of the hundred plates. His principal helpers were Howitt and Merke. To quote the enticing words of another bookseller's catalogue, 'every plate is worthy of framing.' There is a supplementary series of ten plates dealing with Field Sports ... of New South Wales, dated 1813, with ten plates by J. H. Clark. A second edition of the whole appeared in 1819, 'published and sold by H. R. Young' ..." (Hardie). Abbey Travel 2; not in Brunet; Ferguson Bibliography of Australia 739; Hardie English Coloured Books p.136; Nissen ZBI 2019; Schwerdt I, p.179: "... the most beautiful book on Indian sport in existence ..."; Slater Illustrated Sporting Books p.49; Tooley 225; Wantrup Australian Rare Books 1788-1900 p.280: "[The ten plates of the New South Wales supplement include] without doubt the most attractive and sympathetic of the early European depictions of the native inhabitants."
Information from Bellmans auction, 11 October, 2022, lot 206
Publishing details: London, 1819, folio, 110 hand-coloured aquatint plates by Samuel Howitt and others, FINELY BOUND in contemporary red morocco gilt. Second edition.

Lee Lindyview full entry

Reference: see Sydney Morning Herald, Good Weekend, 24.9.2022, p 38, article by, on politics, money and sex.

Campbell Cressidaview full entry

Reference: see Sydney Morning Herald, Spectrum, 14.9.2022, article by Susan Wyndham ‘Still Life and Death’, pages 10-11, illustrated.
Publishing details: [copy insered in Cressida Campbell, NGA, 2022, hc, 264pp

Binns Vivienneview full entry

Reference: see Sydney Morning Herald, Spectrum, 14.9.2022, ‘Beneath the Surface Tension’, article by John McDonald, p17, on the exhibition at MCA

Campbell Cressidaview full entry

Reference: Cressida Campbell, Curator:  Dr Sarina Noordhuis-Fairfax, Curator, Australian Prints and Drawings.
‘celebrates the career of an exceptional Australian colourist who has worked between painting and printmaking for over forty years. Combining keen observation with rigorous design, Campbell uses an innovative process to create woodblock paintings and unique woodcut prints that take direct inspiration from the everyday. Moving between still-life arrangements, domestic interiors, gardens and coastal panoramas, her stylised compositions intertwine life and art. These formal meditations on ordinary beauty are testament to Campbell’s astonishing attention to detail and technical virtuosity.
This book offers new insights into Cressida Campbell’s artistic vision, featuring original research and reflections from curators, artists, poets and writers, as well the artist’s own autobiographical notes. Generously illustrated, the publication will locate Campbell within the lineage of significant Australian contemporary artists.’
Publishing details: NGA, 2022, hc, 264pp

Schouten Peter b1957view full entry

Reference: see Brunk auctions, Asheville-, United States, Friday 30 Sep, 2022 numerous lots, eg lot 506, (Australian, born 1957) Cheetah Acinonyx jubatus, 2001, signed lower left "Peter Schouten 2001", watercolor on paper, sight 32-3/8 x 15-1/8 in.; white gold leaf frame [Naturalist] Provenance: The Estate of Peter H. Tillou, Litchfield, Connecticut not examined out of frame, good condition; frame with abrasions
Estimate
800 - 1 200 US
Starting price
400 USD

Fox Emily Ann NZview full entry

Reference: see Parker auction, UK, 6.10.22, lot 254
Emily Ann Fox of Dunedin (1847-1862) New Zealand. A Mountainous River Landscape with Figures in a Boat, Watercolour, Inscribed verso, 7.25" x 11.5" (18.4 x 29.2cm) together with another drawing and six family photographs, eight (8)

Geach Portiaview full entry

Reference: see Joels auction, October 4, 2022,
Melbourne, lot 9: PORTIA GEACH (1873-1959)  Figures in Landscape  oil on canvasboard  signed lower right: PORTIA GEACH  artist's name and title inscribed on unknown label verso  9 x 34.5cm   PROVENANCE:  Private collection, Melbourne   OTHER NOTES:  Travelling to London in 1896, Portia Geach became the first Australian to win a tuition scholarship to the Royal Academy School, where she studied under influential and well-known British artists. Returning to Australia in 1900, she focused on figural studies, portraits and atmospheric landscapes.  Portia directed much of her life advocating for the rights of women in Australia after feeling the weight of difference between male and female artists.  After the artist's death in 1959, The Portia Geach Memorial Award was brought to fruition by her sister Florence. Often referred to as the female Archibald Prize, is Australia's most significant prize for Australian female portrait artists.   Hannah Ryan  Art Specialist e, Australia, lot 9:

Govett Helena (Nellie) 1882-1965view full entry

Reference: see Joels auction, October 4, 2022,
Melbourne, lot 36:
HELENA (NELLIE) GOVETT (1882-1965)  Portrait of a Boy (believed to be John 'Jack' Govett, the artist's son) c.1920  oil on canvas  signed lower right: N. GOVETT  inscribed on stretcher bar verso: Jack Govett  45 x 60cm   PROVENANCE:  Private collection, Melbourne

Perrey Judith 1927-2016view full entry

Reference: see Joels auction, October 4, 2022,
Melbourne, lot 81:
JUDITH PERREY (1927-2016)  Magnolias and Marguerites  oil on canvasboard  signed lower right: JPERREY  60 x 50cm   PROVENANCE:  The Estate of the Artist   EXHIBITIONS:  Judith M Perrey: Memorial Retrospective, Victorian Artists' Society Galleries, Melbourne, 3-13 April 2021, cat. no. 142

Perrey Judith Mview full entry

Reference: Judith M Perrey: Memorial Retrospective, Victorian Artists' Society Galleries, Melbourne, 3-13 April 2021
Publishing details: VAS, 2021
Ref: 1000

Miles John Rose 1844-1916view full entry

Reference: see Millea Bros Ltd, ABC: Estate Finds, Day 1 of 3, Oct 13, 2022, Boonton, NJ, USA, lot 1337:
John Rose Miles, oil on canvas, John Rose Miles (Australian, 1844-1916), Untitled (Fishermen return to shore), signed lower left, 19.5"h x 29.5"w (sight), 24.5"h x 34.5"w (frame)

Speers Veeview full entry

Reference: see Heritage Auctions, Photographs - #8093, Oct 12, 2022, Dallas, TX, USA, lot 73231: Vee Speers (Australian, b. 1962) Untitled #28 (from Birthday Party series), 2007 Dye bleach print 23-1/2 x 18-3/4 inches (59.7 x 47.6 cm) (sight) Signed, dated, and editioned 2/10 in ink, verso. PROVENANCE: Jackson Fine Art, Atlanta, Georgia.

HID03101062020

Read Sir John Cecil scrapbookview full entry

Reference: Scrapbook of Sir John Cecil Read, governor of Darlinghurst Gail, now The National Art School), c1861 - c1888, 106 double pages, (donated to the Natilonal Art School by Read’s descendants. (See article by Nick Galvin on the scrapbook in Sydney Morning Herald, 26.9.2022. p29. Scrapbook contains art works produced by prisoners. [To be indexed?]

Starlight Captainview full entry

Reference: see Scrapbook of Sir John Cecil Read, governor of Darlinghurst Gail, now The National Art School), c1861 - c1888, 106 double pages, (donated to the Natilonal Art School by Read’s descendants. (See article by Nick Galvin on the scrapbook in Sydney Morning Herald, 26.9.2022. p29. Scrapbook contains art works produced by prisoners.

Pearson Captain aka Captain Starlight view full entry

Reference: see Scrapbook of Sir John Cecil Read, governor of Darlinghurst Gail, now The National Art School), c1861 - c1888, 106 double pages, (donated to the Natilonal Art School by Read’s descendants. (See article by Nick Galvin on the scrapbook in Sydney Morning Herald, 26.9.2022. p29. Scrapbook contains art works produced by prisoners.

Captivate - Stories from the National Art School and Darlinghurst Gaolview full entry

Reference: Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Collingridge Arthur engraving of prison life p10 p20-1view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Austin J G litho p17view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Barney George architect p17view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Lewis Mortimer architect p17view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Needham Francis Charles - Viscountview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Scott Montagu as photographer p25view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Bertrand Henry Louis prisoner artist many referencesview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Read John Cecilview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Pearson Frank aka Captain Starlightview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Starlight Captain aka Frank Pearson view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Gardiner Frank hand-loomed matsview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Boyd Danielview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Caddy Winifredview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Dryer Albert photographer p66view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Bell-Brown Edith p75view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Hoff Rayner various refsview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Carswell Robert ink and wash 1932 p77view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Foster Arthur G photographer p76view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Mackennal Bertramview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

McGrath Eileenview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Steen Ottoview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Conlon Treasure p82-3view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Thornhill Dorothy p130 etcview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Leist Fredview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Maughan Jocelynview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Broome Jean p87view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Robertshaw Freda p87view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Shillito Phyllisview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Hogan Ron p89view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Matthew Marjorie p89view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Stewart Elsie p89view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Tribe Barbara p91view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Cowdroy Victoria p91view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Latour Loma p91view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Hetherington Norman p92 106view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Swan Jim p92view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Jones Shirley p92view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Edwards Jack p92view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Norton Rosalie p94 etcview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Ives Ivan Pix photographer p94view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Pigeon William Edwin p96view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

WEP - William Edwin Pigeon p96view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Dundas Kerry p99view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Muller Selma p98view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Dupain Max p101view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Worth Georgina student p101view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Milton Paul student p101view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Blakemore Barbara student p101view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Gallop Herbert teacher p101view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Tuckson Tony various refs p98 etcview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Bass Tomview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Muller Cynthiaview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Weir Jeanview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Tiarks Sylvia p107view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Dryhurst Dinah 1950s p108view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Elliott Margaret later Margaret Fink p 109view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Fink Margaret nee Margaret Elliott p 109view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Martin Shirley textile designer p113 later de Vochtview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

de Vocht Shirley nee Shirley Martin textile designer p113view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Cook Alfred p112 130view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Olley Margaret p115view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Finey Bruen student p119view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Claux Moira model p119view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Lesslie Fredaview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Dobell William various refsview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Carroll Genevieve costume designer p121view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Bond Grahameview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Farri Diogenes teacher p126view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Schwarz George p128view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Schwarz Charis p128view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Cook James p130view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Thornton James p133view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Brown Bill p133 135view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Vickers Rose p133 145view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Miller Godfrey p133view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Binns Vivienne p133view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Sharp Martin p133 p144view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Thomson Ann p133view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Annandale Immitation Realistsview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Annandale Subterranean Immitation Realistsview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Lanceley Colinview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Brown Mikeview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Crothall Rossview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Culloton Lucy p134view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Passmore Johnview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Olsen Johnview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Rushforth Peter p137view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Travis Peter p137view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Thancoupie p137view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Backen Earle p139view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Rooney Elizabeth p139view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Lambert Ron p139view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Briscoe Kate p140view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Hall Fiona p143 157view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Harris Julie p143view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Lester Kerrie p143view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Perdrio Peter p143view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Jenner Sue p143view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Whitely Wendy nee Julius p147view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Julius Wendy later Whiteley p147view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Cummings Elisabeth p147view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Owen Robert p146view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Ferrier Leone p148view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Pinniger Gretel Madame Lash p149view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Madame Lash Gretel Pinniger p149view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Lash Madame Gretel Pinniger p149view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Bell John p150view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Butlin Cherrie p150view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Terracini Lyndon p150view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Mombassa Reg Chris O’Doherty p151view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

O’Doherty Chris Reg Mombassa p151 159view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Robinson Stephen p155view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Peart John p156view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Lanigan Bill assistant to Rayner Hoff p156view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Buisat Arthur assistant to Rayner Hoff p156view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Worstead Paul p157view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Wallace Gilba p157view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Fairlea Peter p157view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

McClymont Steven p157view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Mori Stephen p157view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Mori Stephen p157view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Hopkins Don student p159view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Colwell Jack p162view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Giles April p163view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Xu Alice p163view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Joshi Bansi p163view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Mackie Graham p166view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Leak Bill p172view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Hughes Robert p172view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Mauss Christopher p174view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Leung Pamela p174view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Ollis Bernard p176view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Sharpe Wendy p176view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Rees Nathan p181view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Warren Guy p198 etcview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Whale Mirra student p184view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Sinnamon Randall student p184view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Kain Kirtika mural p 189 203view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Mills Alexandra p 191view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Fuller Todd p 191view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Hinder Frank p 192view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Edwards Isabella ceramic p 195view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Anderson Nicole photograph p 196view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Dreyfus Ella p200view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Wengembo Lesley p 203view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Margolles Teresa p 213view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Coutts Maryanne Head of Drawing p 212view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Seshee Dineo p 213view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Bopape Dineo Seshee p 213view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Kumari Pushpa p 213view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Duggins Molly p 215view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Matthews Rani p 215view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Russell Ebony p 215view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Mould Anna p 215view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Rowe Samuel Head of National Art School 1922-33view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Hoff Rayner Head of National Art School 1934-7view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Walters Edgar G Head of National Art School 1937-9view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Medworh Frank Head of National Art School 1939-47view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Davies Roy Head of National Art School 1948-60view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Dundas Douglas Head of National Art School 1961-5 p130 etcview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Abbott Harold Head of National Art School 1965-6 and 1968-70view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Dadswell Lyndon Head of National Art School 1966-7view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Laverty Peter Head of National Art School 1970-1view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Coburn John Head of National Arrt School 1972-4view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Thompson Tom Head of National Arrt School 1975-6 various refs inc p129view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Douglas Mollie Head of National Arrt School 1976-9view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Mitchell Don Head of National Arrt School 1980-85view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Gregory Meg Head of National Arrt School 1985-90view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Binder Ted Head of National Arrt School 1990-96view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Blake Patrick Head of National Arrt School 1996view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Makin Jeffrey Head of National Arrt School 1997-8view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Ollis Bernard Head of National Arrt School 1998-2009view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Cooper Simon Head of National Arrt School 2009 + 2013-4 and head of studies p 214view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Taylor Anita Head of National Arrt School 2009-13 and p181view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Snelling Michael Head of National Arrt School 2014-16 photograph p137view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Lynch Michael Head of National Arrt School 2016-17view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Alderton Steven Head of National Arrt School 2017-view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Andrews Gordon p88view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Collings Dashl p88view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Bottrell Fahy p105view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

McKenzie Edna p105view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Francart Yvonne designer p105view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Lahm Hardtmuth Hottie p106view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Hottie or Hotpoint Lahm see Hardtmuth Hottie cartoonist p106view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Vacchini Caleb Hutton listed as a Head of Commercial Art NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Cook Alfred listed as a Head of Commercial Art NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Gallop Herbertt listed as a Head of Commercial Art NAS p229 also Printmakingview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Delaruelle Jacques listed as a Head of Art History NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Dolk Michiel listed as a Head of Art History NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Hill Michiel listed as a Head of Art History NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Simpson G C listed as a Head of Ceramics NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Beetson Irene listed as a Head of Ceramics NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Rushforth Peter listed as a Head of Ceramics NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Douglas Mollie listed as a Head of Ceramics NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Wulff Roswitha listed as a Head of Ceramics NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Howell Marian listed as a Head of Ceramics NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Oldroyd Graham listed as a Head of Ceramics NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Samuels Bill listed as a Head of Ceramics NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Esson Merran listed as a Head of Ceramics NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Draper Lynda listed as a Head of Ceramics NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Rowe Samuel listed as a Head of Design NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Carswell Robert listed as a Head of Design NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Shillito Phyllis listed as a Head of Design NAS p229 also Fashionview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Bishop George listed as a Head of Design NAS p229 also Fashionview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Hoff Rayner listed as a Head of Sculpture NAS p229 also Drawingview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Dundas Douglas listed as a Head of Drawing NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Murphy Idris listed as a Head of Drawing NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Thurgate Noel listed as a Head of Drawing NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Downs Michael listed as a Head of Drawing NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Eastaway Lynne listed as a Head of Drawing NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Coutts Maryanne listed as a Head of Drawing NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Stay Ross listed as a Head of Fashion NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Whitehouse Leanne listed as a Head of Fashion NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Beale Rita listed as a Head of Fashion NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Huxley Nicholas listed as a Head of Fashion NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Gibbs Sally listed as a Head of Fashion NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Richardson Kevin J listed as a Head of Fashion NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Goodare Julia listed as a Head of Fashion NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Leist Fred listed as a Head of Painting NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Dundas Douglas listed as a Head of Painting NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Boxall Arthur D’Auvergne listed as a Head of Painting NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Harvey Arthur Edmund listed as a Head of Painting NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Thompson Tom listed as a Head of Painting NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Coburn John listed as a Head of Painting NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Reinhard Ken listed as a Head of Painting NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Mitchell Don listed as a Head of Painting NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Matkevich Leonard listed as a Head of Painting NAS p229 also Printmakingview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Blake Patrick listed as a Head of Painting NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Montano Joe listed as a Head of Painting NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Francis Theo listed as a Head of Painting NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Kardos Olga listed as a Head of Painting NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Blondel Graham listed as a Head of Painting NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Ollis Bernard listed as a Head of Painting NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Bloomfield John listed as a Head of Painting NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Little Stephen listed as a Head of Painting NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Briscoe Kate listed as a Head of Photography NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Schwartz George listed as a Head of Photography NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Cornish Christine listed as a Head of Photography NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Shanahan Rebecca listed as a Head of Photography NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Stewart Christopher listed as a Head of Photography NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Kleem Geoff listed as a Head of Photography NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Godson John Barclay listed as a Head of Printmaking NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Backen Earle listed as a Head of Printmaking NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Tyssen Ingeborg listed as a Head of Printmaking NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Latham Ailsa listed as a Head of Printmaking NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Genis Fred listed as a Head of Printmaking NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Buchanen Meg listed as a Head of Printmaking NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Cooper Simon listed as a Head of Printmaking NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Stanley Martin listed as a Head of Printmaking NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Payne Patsy listed as a Head of Printmaking NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Mueller Helen listed as a Head of Printmaking NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Burgess Peter listed as a Head of Printmaking NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

McKenzie-Craig Carolyn listed as a Head of Printmaking NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Moorfield John listed as a Head of Sculpture NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Dadswell Lyndon listed as a Head of Sculpture NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

McKay Ian listed as a Head of Sculpture NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Stagpoole Eula listed as a Head of Sculpture NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Buzacott Michael listed as a Head of Sculpture NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Ireland Geoff listed as a Head of Sculpture NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Croke Jim listed as a Head of Sculpture NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

King Jan listed as a Head of Sculpture NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Robertson-Swan Ron listed as a Head of Sculpture NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Harrison Nigel listed as a Head of Sculpture NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Horton Dave listed as a Head of Sculpture NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Armanious Hany listed as a Head of Sculpture NAS p229view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Connor Kevin p99view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

East Sydney Technical Collegeview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Darlinghurst Gaol artview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Dellit Bruce architect p96view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Dodd Peter in photograph of staff p228view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Galea Adam p189view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Goodwin Richard p169view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Hessing Mona p111view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Jackson Roy p127view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Kee Jenny p151view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Klippel nRobert p103view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Leunig Michael p158view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Longstaff John p86view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Macleod Euan p141view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Macnamara Francis p43-4view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Medworth Sallyview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Medworth Dianaview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Milgate Rodney p109view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Mr Squiggleview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Squiggle Mr view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Murch Arthur p102view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

NASview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Nationasl Art School Sydneyview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Riccardi Stefania p190view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Riccardi Stefania p190view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Norrie Susanview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Norton Frank p102view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Norton Kevin p169view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Olsen Louiseview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Perry Davidview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Rees Lloyd p167-8view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Rigby Geoff p222view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Roderick Colinview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Sahm Bernard p125view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Sahm Bernard p125view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Samuels Louise p2 in photographview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Scardifield Kate p188view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Santry John p106view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Shead Garry p149view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Snape Michael p169view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Waite Allanview full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Willebrant James p158view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Wolinski Joseph p95view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Wright Bill p128-30view full entry

Reference: see Captivate - Stories from the National Art School and Darlinghurst Gaol. by Deborash Beck, with contributions from Jennifer Byrne, Lorraine Kypioytis and Jacqui Taffel. Includes chronology on endpapers. Includes index. [Names of artists whose works are illustrated in this book have been entered in the Scheding Index]
Publishing details: National Art School, 2022, hc, 240pp, with index.

Genocchio Benjaminview full entry

Reference: see The Art of Persuasion - Australian Art Criticism 1950 - 2001, edited by Benjamin Genocchio
Publishing details: Crafsman House, 2002, casrd covers, 143pp

Lewin John Williamview full entry

Reference: A Natural History of the Birds of New South Wales Collected, Engraved, and Faithfully Painted After Nature by John William Lewin, A.L.S. Late of Parramatta New South Wales Illustrated with Twenty Six Plates Despite the date on the title page this book is a reprint from 1875. The London Bookseller Bernard Quaritch produced this edition with the plates uncoloured and watermarked 1875 (J Whatman). This is a reprint of the 1838 third edition ‘Still a scarce and desirable Australian bird book.’ Whittell page 442 mentions this edition with the plates watermarked 1875. Ferguson 557 has a lengthy bibliographical note on the various editions
Publishing details: London Printed for J H Bothe 1822. Folio size.
Ref: 1000

Waller Christianview full entry

Reference: Christian Waller Stained Glass : Towards the Light, by Caroline Miley.
‘Christian Waller’s exemplary skills and achievements as an Australian stained-glass artist are brought to light in this superb book. A leading proponent of Modernism in Australian art and the sole woman professional stained-glass artist in Australia until the 1970s, she was greatly admired for her mastery of technique, brilliant design, originality and sumptuous use of colour. Her individual work was vast in extent and always strongly in demand, though in a male-dominated art world she has been since her death overshadowed by her husband, Napier Waller.
Christian was inspired by the Arts and Crafts Movement, Symbolism, the Celtic Revival and by Theosophy and Hermetic lore. She was intensely spiritual and her unique synthesis of Christianity and Theosophy permeated her art works, which parallel those of Piet Mondrian and Hilma af Klint.’
Publishing details: Melbourne : Australian Scholarly Publishing, 2022. Folio, illustrated wrappers, pp. 408, illustrated, housed in a black buckram slipcase with drawstring.
Ref: 1000

Amor Rickview full entry

Reference: Edgar Allen Poe, The Raven. With six woodcuts by Rick Amor

Publishing details: Cobargo : The Croft Press, 1990. Tall folio, black cloth with pictorial printed label (lightly marked and scuffed), 16pp plus six original full-page woodcuts by Rick Amor. Printed by Jim and Ruth Walker and co-published by Richard Griffin. Limited to 100 copies,
Ref: 1000

Image 384. Portfolio ’81view full entry

Reference: Image 384. Portfolio ’81, by Joyce Evans.
The photographers are Philip Cordinglry, Robin Ernest Blume, Paul G. Frijlink, Chris Hughes, John McHutchison, Bernie O’Regan, Edward Schambre and Sandra Vitolins.
‘In 1976 Evans opened Church Street Photographic Centre, a specialist photography gallery and bookshop in Church Street, Melbourne. The gallery ran until 1982, and was integral to the revival of photography as an art form in Melbourne, exhibiting many important shows of Australian and international photography. This rare portfolio was created by Joyce Evans with her stable of artists as a memento of their times together.
‘Image 384 was constituted in 1979 in order to enable photographers to enjoy the benefits of mutually pooled knowledge and resources and assist the individual members to develop their ideas and abilities to supportive mutual inter-action. Over the years we have had stimulating guest speakers and workshops. We have shown our work to each other for criticism and advice. Image 384 has been the means by which we have shared some of the valuable things of life, friendships, ideas and perhaps most importantly, helped to increase our visual vocabulary. The sharing of experience is the idea which binds us, the members of Image 384 together and which is the purpose of this portfolio. This very personal portfolio, produced by the members of Image 384 for themselves and their friends, stands as a testament to co-operative work. Each photograph is an expression of an individual experience in life and photography. As a founding member of Image 384 I a pleased to write this foreword to this portfolio and I am sure in the years to come it will be a reminder of many valuable evenings spent together’. – Joyce Evans, Director, Church Street Photographic Centre.
Unrecorded in Australian collections.’ From Douglas Stewart Fine Books, Seoptember, 2022.

Publishing details: [Melbourne] : Church Street Photographic Centre, 1981. Black clamshell box, 475 x 380 mm, containing text sheet and eight original photographs mounted on cards, each signed by the photographer, one numbered in an edition of 14, suggesting that 14 portfolios were made.
Ref: 1000

Bergner Yosl view full entry

Reference: Mizmorim u-pizmonot : meʻen shire ʻam.
BIALIK, Hayyim Nahman (1873-1934); BERGNER, Yosl (1920-1917) (illustrator).
Limited to 400 copies. This copy is numbered 399 on the limitation page, which is signed in pencil in Hebrew cursive by the book’s illustrator, Yosl Bergner. Small octavo (162 x 100 mm), publisher’s red cloth over boards with gilt device to upper board; pp 89, [1]; illustrated with 23 full-page reproductions of ink drawings by Australian-Israeli artist Yosl Bergner; housed in the publisher’s papered cloth slipcase with a Bergner illustration to the front, signed in red ink by the artist, again in Hebrew cursive; a fine copy.
No copies traced in Australian collections.
‘Hayyim Nahman Bialik (Hebrew: חיים נחמן ביאליק; January 9, 1873 – July 4, 1934), also Chaim or Haim, was a Jewish poet who wrote primarily in Hebrew but also in Yiddish. Bialik was one of the pioneers of modern Hebrew poetry.’ (Wiki.)
Bialik College, Melbourne, is named in the poet’s honour.
‘Yosl Bergner (Hebrew: יוסל ברגנר‎; 13 October 1920 – 18 January 2017), also known as Josl, was an Israeli painter. He was born in Vienna, Austria, grew up in Warsaw, Poland, and lived in Melbourne, Australia from 1937 until 1948.
Yosl emigrated to Australia in 1937 and studied in the National Gallery School in Melbourne until the outbreak of World War II. He served for four and a half years in the Australian Army, and later continued his studies at the Art School.
In Melbourne from 1937–48, Bergner befriended many of the local artists who now epitomize modern Australian art: Sidney Nolan, Albert Tucker, John Perceval and Arthur Boyd. Adrian Lawlor moved with his wife to a cottage at Warrandyte, an outer suburb of Melbourne, where they lived for 30 years. Bergner was a frequent visitor at their Warrandyte home. All the men socialized together. Bergner encouraged them to go beyond their traditional landscape style and introduced a more radical concern for working families, thus having an important impact on Australian art.
Bergner may not have been prepared for the plight of many struggling Australians. Yet he felt a strong connection between the suffering of people everywhere, whether they were the Jews that he remembered from Europe, landless blacks in the heart of Australia or hungry children in inner urban Melbourne.
He left Australia in 1948 and after two years of traveling and exhibiting in Paris, Montreal and New York City, he settled in Israel. He lived in Safed until moving to Tel Aviv in 1957 with his wife, the artist Audrey Bergner.’ (Wiki.)
Publishing details: Tel-ʼAviv : Dvir, 1973. Limited to 400 copies. This copy is numbered 399 on the limitation page, which is signed in pencil in Hebrew cursive by the book’s illustrator, Yosl Bergner. Small octavo (162 x 100 mm), publisher’s red cloth over boards with gilt device to upper board; pp 89, [1]; illustrated with 23 full-page reproductions of ink drawings by Australian-Israeli artist Yosl Bergner; housed in the publisher’s papered cloth slipcase with a Bergner illustration to the front,
Ref: 1000

Dreaming the Land view full entry

Reference: Dreaming the Land : Aboriginal art from remote Australia, by Marie Geisser.
The artworks of Aboriginal Australian peoples are a profoundly important repository of knowledge and reflect a deep connection to Country. This visually rich survey explores the evolution of the contemporary Aboriginal art movement in remote areas of Australia across twenty-nine art centres in five states from the Kimberley through to Arnhem Land and beyond.
Featuring profiles of 100 artists, this unparalleled work provides valuable insight into Knowledges and Traditions, while highlighting the achievements of each unique artist – all recognised as among the most distinguished painters from remote Australia. Author Marie Geissler’s opening essay traces the progression from rock art through to the launch of the Western desert movement, which began at Papunya in the early 1970s and led to the widespread uptake of contemporary painting by Aboriginal artists. Esteemed writers Margot Neale and Djon Mundine offer erudite contributions distilling the complexity of the art movement and its impact.
Dreaming the Land is an authoritative reference that offers readers around the world a valuable introduction to Aboriginal culture and the stories that underpin the paintings.

Publishing details: Melbourne : Thames & Hudson Australia, 2022. Quarto, illustrated boards, pp. 364, illustrated.
Ref: 1000

Cullen Adamview full entry

Reference: Adam Cullen : the kind yoga of war, by Andre de Borde. Published to accompany an exhibition of Cullen’s in Singapore.
Publishing details: Singapore : Future Perfect, 2012. Laminated card, folded, illustrated, essay.
Ref: 1000

Lamb Joannaview full entry

Reference: Flatland : a continuing romance, with essay, illustrated.
Publishing details: Perth : Johnston Gallery, 2008. Oblong octavo, lettered wrappers (lightly marked), pp. [16],
Ref: 1000

von Guerard Eugeneview full entry

Reference: Eugene von Guerard in Ballarat, by Margaret Rich. An exhibition for the Ballarat Fine Art Gallery 5 October-2 December, 1990. Includes: “Journal of an Australian gold digger by E.v.G”.
Publishing details: Ballarat Fine Art Gallery, 1990. Quarto, illustrated wrappers, pp. 32, illustrated.

Griggs Davidview full entry

Reference: David Griggs : Between Nature & Sin.
Between Nature and Sin explores the personal experiences that have shaped Grigg’s bold and often confronting practice. The book focuses on paintings and video works connected to the artist’s experience in Manilla...
Publishing details: Campbelltown Arts Centre, 2017. Quarto, illustrated boards, pp. 272, illustrated. New copy. Printed in an edition of 750 copies
Ref: 1000

Griggs Davidview full entry

Reference: David Griggs : The Ashtray Reader
The Ashtray Reader showcases a selection of recent works from acclaimed Sydney-based artist David Griggs.
Publishing details: Melbourne : Art Ink, 2021. Quarto, illustrated boards, pp. 68, illustrated. Printed in an edition of 100 copies.
Ref: 1000

Cattapan Jon view full entry

Reference: Jon Cattapan: Threshold Signs 2008‑2021
Threshold Signs 2008-2021 is a significant representation of the practice of Melbourne-based artist, Jon Cattapan. With a career spanning over forty-five years, the book documents the formative experiences that have shaped Cattapan’s practice...
Publishing details: Melbourne, Vic. : Art Ink, 2021. Quarto, illustrated boards, pp. 208, illustrated. New copy, printed in an edition of 750 copies.
Ref: 1000

Nellview full entry

Reference: Nell ; with words by Julie Ewington.
The Wake is a gathering of spirits, relatives, friends and lovers. Culminating in the form of objects, the artist Nell explores binary opposites: life and death, happiness and sadness, light and dark. From its inclusion in the 2016 Adelaide Biennial of Australian Art at The Art Gallery of South Australia, Adelaide, to its current display at the Shepparton Art Museum in Victoria, ‘The Wake’ now also exists in this first book on Nell’s practice. This monograph includes words by Julie Ewington and images of the 41 works that make up The Wake.

Publishing details: Melbourne : Station, 2016. Quarto, illustrated boards, pp. 107, illustrated. Printed in an edition of 1000 copies.
Ref: 1000

Amor Rickview full entry

Reference: Rick Amor. From study to painting
Amor’s studies and paintings presented side by side.
Publishing details: Castlemaine Art Gallery and Historical Museum, 2013. Quarto, illustrated wrappers, pp. [32], illustrated.
Ref: 1000

Boyd Davidview full entry

Reference: Point Piper and other paintings 1977 – 78

Publishing details: Sydney : Barry Stern’s exhibiting gallery, [1978]. . Quarto, folding card, illustrated, catalogue of 32 works, pp. [4].

Ref: 1000

Nolan Sidview full entry

Reference: Sidney Nolan : An exhibition of Birds,
text by Elwyn Lynn.

Publishing details: The Windsor Community Arts Centre, 1984. Quarto, illustrated cards, pp. 8, illustrated,
Ref: 1000

Kingston Peterview full entry

Reference: see Sydney Morning Herald obituary 1 October, 2022, p27, by Linda Morris and Joyce Morgan
Publishing details: [a copy in Harbour Lights in Scheding Library.]

Gibbs Mayview full entry

Reference: Mamie and Wag, by May Gibbs
Publishing details: Gordon, NSW : Scholastic Australia, 2021. First Australian edition. Oblong quarto, illustrated pictorial boards, illustrated endpapers, pp. [30], illustrated.
Ref: 1000

Gibbs Mayview full entry

Reference: About Us, by May Gibbs. [May Gibbs’ first book.]
Publishing details: London : Ernest Nister, and New York : E. P. Dutton, 1912. First edition. Oblong quarto, illustrated pictorial boards (expert restoration to corners and hinges), illustrated endpapers, torn edges go title page expertly infilled, pp. [30], illustrated with colour and black and white plates.
Ref: 1000

Phillips Harryview full entry

Reference: Kosciusko [Also titled: Kosciusko in winter.]With 28 photographic illustrations
Publishing details: Willoughby, N.S.W. : Printed and published by H. Phillips, 99 Victoria Avenue, [circa 1930]. “Photographs supplied by the N.S.W. Government Tourist Bureau”. Small oblong folio (170 x 320 mm), publisher’s olive-green thick paper wrappers, with a splendid pictorial front, [12] pp,
Ref: 1000

Menpes Mortimerview full entry

Reference: The Grey river, by Justin McCarthy, Mrs Campbell Praed and Mortimer Menpes, illustrated with 12 original etchings by Mortimer Menpes, each signed in the image and in pencil by Menpes in the lower margin.
Publishing details: London : Seeley and Co., 1889. Folio, gilt-lettered cloth (a little marked), offsetting to endpapers, pp. iv, 87,Printed in an edition of 230 copies,
Ref: 1000

Nettleton Charles photographerview full entry

Reference: see Douglas Stewart Fine Books Ocyober, 2022: Two-part photographic panorama of Ballarat from the north, taken from Black Hill, early 1870s.
wo albumen print photographs in identical 116 x 190 mm format, laid down side-by-side on an album page to form a contiguous two-part panoramic view of the township of Ballarat; removed from a German traveller’s album, with the compiler’s calligraphic caption label beneath the image; both prints have excellent clarity and tonal range, and are in very good condition; the album mount has a touch of foxing at lower edge.
A dramatic photographic panorama of the gold mining township of Ballarat, seen more or less as a line of buildings running from east to west in the distance, with the scarred and cratered landscape of the Black Hill diggings in the foreground resembling the surface of the moon.
Another example of the right-hand print is held in the collection of the State Library of Victoria (Accession No: H84.79/1); it is on Charles Nettleton’s commercial mount, with the printed caption ‘Ballarat. North View 100 Miles N from Melbourne’. However, we have not been able to trace another example of the left-hand print, which was obviously taken by Nettleton from the same vantage point at the same time with the intention of creating a 180-degree panorama.

Early Australian photographyview full entry

Reference: Early Australian photography : a limited edition portfolio of thirty prints. Selected from the collection of the National Library of Australia, Canberra.Presented at HYPO ’75.
“The edition is of 100 numbered copies. The plates used in the making of the prints were defaced 6 September 1975 and are held in the files of the Federal Secretariat of the Institute of Photography.”
Includes works by Harold Cazneaux, John Eaton, Dr. Julian Smith, Frank Hurley, J. W. Lindt, n.Charles Louis Gabriel, Monte Luke, Michael Terry, W.A. Moffitt, and R.V. Simpson.

Publishing details: Greenhouse Publications for the Institute of Australian Photography, [1975]. Limited edition of 100 numbered copies signed by D. Reid (HYPO ’75 Chairman) and M. Farrell (AIAP Federal President). This is copy no. 82. Publisher’s card portfolio, 400 x 320 mm, housing an 8-page illustrated booklet and 30 loose sepia tone plates printed on high grade paper stock in uniform format 350 x 300 mm.
Ref: 1009

Cazneaux Harold view full entry

Reference: see Early Australian photography : a limited edition portfolio of thirty prints. Selected from the collection of the National Library of Australia, Canberra.Presented at HYPO ’75.
“The edition is of 100 numbered copies. The plates used in the making of the prints were defaced 6 September 1975 and are held in the files of the Federal Secretariat of the Institute of Photography.”

Publishing details: Greenhouse Publications for the Institute of Australian Photography, [1975]. Limited edition of 100 numbered copies signed by D. Reid (HYPO ’75 Chairman) and M. Farrell (AIAP Federal President). This is copy no. 82. Publisher’s card portfolio, 400 x 320 mm, housing an 8-page illustrated booklet and 30 loose sepia tone plates printed on high grade paper stock in uniform format 350 x 300 mm.

Eaton John view full entry

Reference: see Early Australian photography : a limited edition portfolio of thirty prints. Selected from the collection of the National Library of Australia, Canberra.Presented at HYPO ’75.
“The edition is of 100 numbered copies. The plates used in the making of the prints were defaced 6 September 1975 and are held in the files of the Federal Secretariat of the Institute of Photography.”

Publishing details: Greenhouse Publications for the Institute of Australian Photography, [1975]. Limited edition of 100 numbered copies signed by D. Reid (HYPO ’75 Chairman) and M. Farrell (AIAP Federal President). This is copy no. 82. Publisher’s card portfolio, 400 x 320 mm, housing an 8-page illustrated booklet and 30 loose sepia tone plates printed on high grade paper stock in uniform format 350 x 300 mm.

Lindt W Jview full entry

Reference: see Early Australian photography : a limited edition portfolio of thirty prints. Selected from the collection of the National Library of Australia, Canberra.Presented at HYPO ’75.
“The edition is of 100 numbered copies. The plates used in the making of the prints were defaced 6 September 1975 and are held in the files of the Federal Secretariat of the Institute of Photography.”

Publishing details: Greenhouse Publications for the Institute of Australian Photography, [1975]. Limited edition of 100 numbered copies signed by D. Reid (HYPO ’75 Chairman) and M. Farrell (AIAP Federal President). This is copy no. 82. Publisher’s card portfolio, 400 x 320 mm, housing an 8-page illustrated booklet and 30 loose sepia tone plates printed on high grade paper stock in uniform format 350 x 300 mm.

Smith Julian view full entry

Reference: see Early Australian photography : a limited edition portfolio of thirty prints. Selected from the collection of the National Library of Australia, Canberra.Presented at HYPO ’75.
“The edition is of 100 numbered copies. The plates used in the making of the prints were defaced 6 September 1975 and are held in the files of the Federal Secretariat of the Institute of Photography.”

Publishing details: Greenhouse Publications for the Institute of Australian Photography, [1975]. Limited edition of 100 numbered copies signed by D. Reid (HYPO ’75 Chairman) and M. Farrell (AIAP Federal President). This is copy no. 82. Publisher’s card portfolio, 400 x 320 mm, housing an 8-page illustrated booklet and 30 loose sepia tone plates printed on high grade paper stock in uniform format 350 x 300 mm.

Hurley Frank view full entry

Reference: see Early Australian photography : a limited edition portfolio of thirty prints. Selected from the collection of the National Library of Australia, Canberra.Presented at HYPO ’75.
“The edition is of 100 numbered copies. The plates used in the making of the prints were defaced 6 September 1975 and are held in the files of the Federal Secretariat of the Institute of Photography.”

Publishing details: Greenhouse Publications for the Institute of Australian Photography, [1975]. Limited edition of 100 numbered copies signed by D. Reid (HYPO ’75 Chairman) and M. Farrell (AIAP Federal President). This is copy no. 82. Publisher’s card portfolio, 400 x 320 mm, housing an 8-page illustrated booklet and 30 loose sepia tone plates printed on high grade paper stock in uniform format 350 x 300 mm.

Gabriel Charles Louis view full entry

Reference: see Early Australian photography : a limited edition portfolio of thirty prints. Selected from the collection of the National Library of Australia, Canberra.Presented at HYPO ’75.
“The edition is of 100 numbered copies. The plates used in the making of the prints were defaced 6 September 1975 and are held in the files of the Federal Secretariat of the Institute of Photography.”

Publishing details: Greenhouse Publications for the Institute of Australian Photography, [1975]. Limited edition of 100 numbered copies signed by D. Reid (HYPO ’75 Chairman) and M. Farrell (AIAP Federal President). This is copy no. 82. Publisher’s card portfolio, 400 x 320 mm, housing an 8-page illustrated booklet and 30 loose sepia tone plates printed on high grade paper stock in uniform format 350 x 300 mm.

Luke Monte view full entry

Reference: see Early Australian photography : a limited edition portfolio of thirty prints. Selected from the collection of the National Library of Australia, Canberra.Presented at HYPO ’75.
“The edition is of 100 numbered copies. The plates used in the making of the prints were defaced 6 September 1975 and are held in the files of the Federal Secretariat of the Institute of Photography.”

Publishing details: Greenhouse Publications for the Institute of Australian Photography, [1975]. Limited edition of 100 numbered copies signed by D. Reid (HYPO ’75 Chairman) and M. Farrell (AIAP Federal President). This is copy no. 82. Publisher’s card portfolio, 400 x 320 mm, housing an 8-page illustrated booklet and 30 loose sepia tone plates printed on high grade paper stock in uniform format 350 x 300 mm.

Terry Michael view full entry

Reference: see Early Australian photography : a limited edition portfolio of thirty prints. Selected from the collection of the National Library of Australia, Canberra.Presented at HYPO ’75.
“The edition is of 100 numbered copies. The plates used in the making of the prints were defaced 6 September 1975 and are held in the files of the Federal Secretariat of the Institute of Photography.”

Publishing details: Greenhouse Publications for the Institute of Australian Photography, [1975]. Limited edition of 100 numbered copies signed by D. Reid (HYPO ’75 Chairman) and M. Farrell (AIAP Federal President). This is copy no. 82. Publisher’s card portfolio, 400 x 320 mm, housing an 8-page illustrated booklet and 30 loose sepia tone plates printed on high grade paper stock in uniform format 350 x 300 mm.

Moffitt W A view full entry

Reference: see Early Australian photography : a limited edition portfolio of thirty prints. Selected from the collection of the National Library of Australia, Canberra.Presented at HYPO ’75.
“The edition is of 100 numbered copies. The plates used in the making of the prints were defaced 6 September 1975 and are held in the files of the Federal Secretariat of the Institute of Photography.”

Publishing details: Greenhouse Publications for the Institute of Australian Photography, [1975]. Limited edition of 100 numbered copies signed by D. Reid (HYPO ’75 Chairman) and M. Farrell (AIAP Federal President). This is copy no. 82. Publisher’s card portfolio, 400 x 320 mm, housing an 8-page illustrated booklet and 30 loose sepia tone plates printed on high grade paper stock in uniform format 350 x 300 mm.

Simpson R Vview full entry

Reference: see Early Australian photography : a limited edition portfolio of thirty prints. Selected from the collection of the National Library of Australia, Canberra.Presented at HYPO ’75.
“The edition is of 100 numbered copies. The plates used in the making of the prints were defaced 6 September 1975 and are held in the files of the Federal Secretariat of the Institute of Photography.”

Publishing details: Greenhouse Publications for the Institute of Australian Photography, [1975]. Limited edition of 100 numbered copies signed by D. Reid (HYPO ’75 Chairman) and M. Farrell (AIAP Federal President). This is copy no. 82. Publisher’s card portfolio, 400 x 320 mm, housing an 8-page illustrated booklet and 30 loose sepia tone plates printed on high grade paper stock in uniform format 350 x 300 mm.

Fauchery Antoineview full entry

Reference: Sun Pictures of Victoria : The Fauchery-Daintree Collection 1858, by Dianne Reilly & Jennifer Carew. With introductory essay, notes and references;
From Douglas Stewart Fine Books, October, 2022:
The French photographer and writer Antoine Fauchery (1823-1861) arrived in Australia in 1852 and spent the next several years prospecting on the Victorian goldfields – where he achieved limited success – and running a cafe in Melbourne. His account of life on the goldfields, Lettres d’un mineur en Australie, was published in Paris in 1857.
The English geological surveyor and photographer Richard Daintree (1832-1878) arrived on the Victorian goldfields in 1853, but like Fauchery he also failed to strike it lucky, and quickly took up a position as geologist with the Government Mineralogical Survey under Alfred Selwyn. He returned to England in the mid-1850s to further his training, but by early 1858 he was back in Melbourne.
It was at this point that Daintree met Antoine Fauchery. The two shared similar interests and both were proficient in the new field of photography. They went into business together to publish a series of their own photographs of the colony of Victoria. This series of fifty large format photographs, created using the new collodion wet-plate process, was titled Sun Pictures of Victoria, and was released in ten monthly installments from mid-1858.
Sun Pictures unquestionably constitutes the most important photographic record of the colony prior to 1860, in terms of the quality of the prints and the range of subject matter. It contains scenes of life on the goldfields, views of the booming city Melbourne, highly significant portraits of Aborigines and of prominent colonizers such as Sir Henry Barkly, Bishop Perry, Edouard Adet and Sir John O’Shanassy.

Publishing details: Melbourne : Library Council of Victoria, 1983. First edition. Quarto (295 x 260 mm), publisher’s gilt-lettered black cloth over boards, in pictorial dust jacket (lightly rubbed), pp 143, with 53 full-page photographic plates,
Ref: 1009

Daintree Collection view full entry

Reference: see Sun Pictures of Victoria : The Fauchery-Daintree Collection 1858, by Dianne Reilly & Jennifer Carew. With introductory essay, notes and references;
From Douglas Stewart Fine Books, October, 2022:
The French photographer and writer Antoine Fauchery (1823-1861) arrived in Australia in 1852 and spent the next several years prospecting on the Victorian goldfields – where he achieved limited success – and running a cafe in Melbourne. His account of life on the goldfields, Lettres d’un mineur en Australie, was published in Paris in 1857.
The English geological surveyor and photographer Richard Daintree (1832-1878) arrived on the Victorian goldfields in 1853, but like Fauchery he also failed to strike it lucky, and quickly took up a position as geologist with the Government Mineralogical Survey under Alfred Selwyn. He returned to England in the mid-1850s to further his training, but by early 1858 he was back in Melbourne.
It was at this point that Daintree met Antoine Fauchery. The two shared similar interests and both were proficient in the new field of photography. They went into business together to publish a series of their own photographs of the colony of Victoria. This series of fifty large format photographs, created using the new collodion wet-plate process, was titled Sun Pictures of Victoria, and was released in ten monthly installments from mid-1858.
Sun Pictures unquestionably constitutes the most important photographic record of the colony prior to 1860, in terms of the quality of the prints and the range of subject matter. It contains scenes of life on the goldfields, views of the booming city Melbourne, highly significant portraits of Aborigines and of prominent colonizers such as Sir Henry Barkly, Bishop Perry, Edouard Adet and Sir John O’Shanassy.

Publishing details: Melbourne : Library Council of Victoria, 1983. First edition. Quarto (295 x 260 mm), publisher’s gilt-lettered black cloth over boards, in pictorial dust jacket (lightly rubbed), pp 143, with 53 full-page photographic plates,

photographyview full entry

Reference: see Sun Pictures of Victoria : The Fauchery-Daintree Collection 1858, by Dianne Reilly & Jennifer Carew. With introductory essay, notes and references;
From Douglas Stewart Fine Books, October, 2022:
The French photographer and writer Antoine Fauchery (1823-1861) arrived in Australia in 1852 and spent the next several years prospecting on the Victorian goldfields – where he achieved limited success – and running a cafe in Melbourne. His account of life on the goldfields, Lettres d’un mineur en Australie, was published in Paris in 1857.
The English geological surveyor and photographer Richard Daintree (1832-1878) arrived on the Victorian goldfields in 1853, but like Fauchery he also failed to strike it lucky, and quickly took up a position as geologist with the Government Mineralogical Survey under Alfred Selwyn. He returned to England in the mid-1850s to further his training, but by early 1858 he was back in Melbourne.
It was at this point that Daintree met Antoine Fauchery. The two shared similar interests and both were proficient in the new field of photography. They went into business together to publish a series of their own photographs of the colony of Victoria. This series of fifty large format photographs, created using the new collodion wet-plate process, was titled Sun Pictures of Victoria, and was released in ten monthly installments from mid-1858.
Sun Pictures unquestionably constitutes the most important photographic record of the colony prior to 1860, in terms of the quality of the prints and the range of subject matter. It contains scenes of life on the goldfields, views of the booming city Melbourne, highly significant portraits of Aborigines and of prominent colonizers such as Sir Henry Barkly, Bishop Perry, Edouard Adet and Sir John O’Shanassy.

Publishing details: Melbourne : Library Council of Victoria, 1983. First edition. Quarto (295 x 260 mm), publisher’s gilt-lettered black cloth over boards, in pictorial dust jacket (lightly rubbed), pp 143, with 53 full-page photographic plates,

Hayward Florence Janeview full entry

Reference: see Bridget McDonnell Gallery website:
Florence Jane Hayward
A Bush Home c1906

Oil on canvas 54.5 x 97.7 cm Signed Provenance: Joseph Ackeroyd, South Yarra: by decent to Margaret Mace, Frankston

Possibly exhibited in the Annual Exhibition, Victorian Artists’ Society, 1906, no. 80 as  A Bush Home Healesville 

Florence Jane Hayward (nee Pickering) was born in Bulleen to Arthur Joseph Pickering (1835-1914) and Ann Pickering (nee Rosier). She had a sister, Ada Eliza (later Harker). Her father was the vicar of St. John’s Diamond Creek (1874-1880), and St. John’s Anglican Church, Heidelberg from 1879-?

According to Alan McCulloch’s Encyclopedia of Australian Art, she studied in Heidelberg with Walter Withers. She exhibited at the Victorian Academy of Arts in 1885 under the name ‘Miss F. J. Pickering’ and as ‘Mrs F. Hayward’ at the Victorian Artists’ Society from 1898 to 1906. “Her subjects (in oils) include landscapes of Heidelberg and Healesville as well as portraits and still-life. In her later work the influence of Withers can be clearly seen in both tonality and brushwork.” (p. 330)

Rae Isoview full entry

Reference: see Gibsons Auction, Melbourne, 16 October, lot 21:
ISOBEL (ISO) RAE (1860-1940) Breton Family
oil on canvas
signed lower right: ISO RAE
95 x 77cm

PROVENANCE
Private collection, Sweden
Bonhams & Goodman, Sydney, Australian and International Art, 26 April 2005, Lot 46
Corporate collection, Victoria

Iso Rae was born in Melbourne and studied at the National Gallery School from 1877-87. A diligent student, she received many accolades and engaged energetically with the program. Her peers included Tom Roberts, Fred McCubbin and Rupert Bunny. Iso moved to France with her mother and sister in 1887 where she continued her studies in Paris at Académie Colarossi until the family moved to Étaples in 1893. Étaples was then a quaint fishing village and home to a colony of artists. Surrounded by vast open fields tended by Breton in traditional garb, it was a source of wholesome subject matter for many artists.

In Breton Family, Iso has captured a sweet restful moment of a breton mother with her children taking a break from tending the field. It is a delightful representation of everyday life of Brittany in the peaceful time before the first World War. ‘Many Australian impressionists painted en plein air (like the French impressionists), and is evocative of not just landscapes but the social energies of the time.' The pastoral scenes from Rae's collected works have a light ethereal lustre that focuses on the people just as much as the surrounding landscape.

Scant information is available to historians on the life and times of Iso Rae, although recently published letters from the artist and her sister, Alison, provided an insight into their steadfast connection to Australia (despite never returning). Iso was a dynamic presence amongst the community of expatriates in Étaples before and during the war, exhibiting in local annual art exhibitions as well as in London, Paris and Australia.

Rae's Young Girl, Étaples c.1892 was recently acquired by the NGV in 2020 and achieved a record for the artist. This move by a major institution of raising Rae's representation within their collection is a confirmation of her importance to our national identity; highlighting the significant contributions, narratives and histories of Australian artists living and working overseas.

Fowles Joseph 1810-1878view full entry

Reference: see Gibsons Auction, Melbourne, 16 October, lot 28:
28
SIR JOSEPH FOWLES (1810-1878) Sir Hercules
oil on canvas
signed and inscribed lower right: J Fowles, Sydney
35.5 x 45.5cm

Englishman John Fowles migrated to NSW in 1838. Fowles had an entrepreneurial mindset, pursuing a variety of vocations throughout his life, however his most consistent endeavour was painting and drawing. He first exhibited at the Society for the Promotion of Fine Arts in Australia in 1847 with several maritime paintings. In 1848 he published a series of illustrations highlighting the elegant streetscapes of Sydney. Fowles took pride in executing each drawing with fastidious accuracy, his objective was ‘to remove the erroneous and discreditable notions current in England concerning this city… We shall endeavour to represent Sydney as it really is – to exhibit its spacious gas-lit streets, crowded by an active thriving population'

Fowles was an avid racing enthusiast and in 1861 he decided to invest in building a hotel and racing stables in Randwick, naming it Newmarket after the historic rural home of British racing. Fowles wasn't so fortunate with the hotel business and soon went into insolvency. He was able to continue in the role as Hotel manager for a time, never attaining ownership of the building and eventually returning to his earlier profession of art teacher for the remainder of his life. The exact date Fowles painted this striking image of prominent racehorse Sir Hercules is unclear. Douglas Barrie, writer of The Australian Bloodhorse, 1956 gives Sir Hercules commendations as one of the greatest early Australian-bred sires. Likely his connection to the Newmarket stables would have provided ample opportunities to gain commissions from wealthy equine enthusiasts. Despite his financial difficulties, Fowles was able to maintain his position in the racing fraternity. He joined the board of the Homebush Jockey Club in 1870, presiding over several race meetings at that track.

Catani Ugoview full entry

Reference:
43
UGO CATANI (ITALIAN, 1859-1944) La Fiorentina 1880
oil on canvas
signed and dated lower right: U. Nicolai Catani 1880
49 x 33cm

NOTE
Florentine born Ugo Catani trained at the Academy of Art in that city and in 1885 travelled with fellow Academy student, Girolamo Nerli, to Melbourne where he was to work for the next ten years, sharing studios with Nerli, Walter Withers, and Arthur Loureiro. Concerned by the conservative tendencies espoused by the Victorian Academy, Catani, along with with fellow young artists including Tom Roberts agitated to form the Australian Artists Association, with whom he exhibited and held office as a committee member.

From 1895 Catani resided and worked in England before returning to his native Florence in the 1920s where he remained for the rest of his life.

Catani earned his living principally as a portrait painter, and this work, La Fiorentina, is a work by the youthful Catani during his formative Florentine years. Here, an elegant young woman, with a glass in hand poses in an unmistakably Italian garden complete with antique statuary.

Whiteley Wendyview full entry

Reference: A Year with Wendy Whiteley: Conversations About Art, Life and Gardening, by Ashleigh Wilson.
‘A Year with Wendy Whiteley is an intimate portrait of an exceptional woman: creator, survivor, and art-world legend. The keeper of the Brett Whiteley legacy, Wendy Whiteley is best known for creating the Secret Garden on the land below her house on Sydney Harbour. Now, in her early eighties, it’s time for her to share her story. Over many candid conversations at her kitchen table in Lavender Bay, Wendy and biographer Ashleigh Wilson discuss art and love, loss and grief, and what it means to live in the shadow of another. Wendy Whiteley is a remarkable figure and her story is unforgettable. ’
Publishing details: Text, 2022, hc
Ref: 1000

Dangar Anneview full entry

Reference: see Look magazine, Art Gallery of New South Wales Magazine, Oct - Nov, 2022. Cover illustration and artical p11 and p32ff with biographical information.

Mingwei Leeview full entry

Reference: see Look magazine, Art Gallery of New South Wales Magazine, Oct - Nov, 2022. article p 18-20

Broome Norton Jeanview full entry

Reference: see Look magazine, Art Gallery of New South Wales Magazine, Oct - Nov, 2022. Article p 22-4. ‘Abundance’ 1934-1987, Casting plaster sculpture into bronze.

Unsworth Kenview full entry

Reference: see Look magazine, Art Gallery of New South Wales Magazine, Oct - Nov, 2022. Article by John Saxby p 42-47

Goodsir Agnes Hungarian Shawlview full entry

Reference: see Look magazine, Art Gallery of New South Wales Magazine, Oct - Nov, 2022. Article on new acquisition. p56-8, by Leaanne Santoro

Puna Lindaview full entry

Reference: see Look magazine, Art Gallery of New South Wales Magazine, Oct - Nov, 2022. Article p60-1

Lewers Margoview full entry

Reference: see Look magazine, Art Gallery of New South Wales Magazine, Oct - Nov, 2022. p72.Book review by Susan Wyndham of Margo Lewers - No Limits, by T. Crothers, G. Harper, D. Lewers, V. Mitchell, G. Plate, C. Quinn.

Commons Donald G Gview full entry

Reference: Donald G. G, Commons exhibition catalogue, Villiers Gallery, a 2-column biography on one side of card.
Publishing details: Villiers Gallery, (Paddington, NSW)1972, folded card [Photocopy]
Ref: 145

Walsh Craigview full entry

Reference: Craig Walsh (Museum of Contemporary Art Australia / IMA ). With biography and bibliography.

Publishing details: Sydney: Museum of Contemporary Art Australia, 2013. 196pp.

Play Powerview full entry

Reference: play power, by Richard Neville. Exploring the International Underground. OZ editor Richard Neville's reportage of the 1960s underground. Second printing of the first edition, this copy with the Headopoly game in the rear pocket. [to be indexed]

Publishing details: London: Jonathan Cape, 1970.
Second Printing.
20.5cm x 14cm. 361 pages. Yellow cloth, black lettering, top edge black, illustrated jacket.
Ref: 1000

Sharp Martinview full entry

Reference: play power, by Richard Neville. Exploring the International Underground. OZ editor Richard Neville's reportage of the 1960s underground. Second printing of the first edition, this copy with the Headopoly game in the rear pocket.
Publishing details: London: Jonathan Cape, 1970.
Second Printing.
20.5cm x 14cm. 361 pages. Yellow cloth, black lettering, top edge black, illustrated jacket.

Pop Artview full entry

Reference: play power, by Richard Neville. Exploring the International Underground. OZ editor Richard Neville's reportage of the 1960s underground. Second printing of the first edition, this copy with the Headopoly game in the rear pocket.
Publishing details: London: Jonathan Cape, 1970.
Second Printing.
20.5cm x 14cm. 361 pages. Yellow cloth, black lettering, top edge black, illustrated jacket.

Aspden Davidview full entry

Reference: David Aspden, exhibition 15 October - 5 November, 2022. A selection of works from the David Aspden Estate, together with a handful of works from private vendors
Publishing details: Charles Nodrum Gallery, 2022.
Ref: 1000

Ramsay Dennisview full entry

Reference: see Litchfield Auctions, Asian, Fine Art & 20th C. Design, Oct 19, 2022. lot 146: Dennis Ramsay, Scottish/Australian,1925-2009, Dancing Women, watercolor on paper , 14 x 11, framed 20 1/2 x 16 1/2

Borland Pollyview full entry

Reference: See The Monthly, the Culture Isuue, October 2022, article by Polly Borland p46-8

Sansom Garethview full entry

Reference: See The Monthly, the Culture Isuue, October 2022, article by Sebastian Smee p34-40

Fullwood A Hview full entry

Reference: see Biographical information on artist Edward Joseph de Lough including notes on research undertaken by researcher Sarah Staveley, and including Death Certificate (b. 1870, Wanganui NZ, journalist and politician? (and painter) and press reports. Brother in law of A H Fullwood.
Publishing details: Folder 97 in Scheding Library

Blackman Charlesview full entry

Reference: Bohemian Negligence by Bertie Blackman [the artist’s daughter]
Publishing details: Allen and Unwin, 2022
Ref: 1000

Blackman Charlesview full entry

Reference: see review of Bohemian Negligence by Bertie Blackman [the artist’s daughter], Allen and Unwin, 2022, in SMH Spectrum, 8 October, 2022, p8-9

Campbell Cressidaview full entry

Reference: see review of Cressida Campbell, Curator:  Dr Sarina Noordhuis-Fairfax, Curator, Australian Prints and Drawings. NGA, 2022, hc, 264pp, in

McWhannell Isabelview full entry

Reference: see day Fine Art website (at October, 2022):
Isabel McWhannell. Moonlight Burwood 1908, Oil on canvas 36 x 25 cm Signed and dated lower right Good original condition, original frame.
Provenance:  Family of McWhannell Christopher Day Gallery  Private collection Sydney Isabel McWhannell (1883-1919) BIO
Born at ‘Rodney Downs’ Aramac, Queensland. Her father was a Western Queensland pioneer who arrived from Scotland in in 1863. Within 10 years he was operating 4 large scale cattle and sheep properties in the Aramac/Longreach district. Following his death in 1888 the family moved to Sydney where Isabel completed her schooling.
As a teenager Isabel took a keen interest in drawing and painting. She was sent to the Sydney Art School where under the eye of Julian Ashton and Sydney Long she proved to be a student of great promise. In particular she had a very close relationship with Sid Long for many years. She began to exhibit works in 1902. Her work carries a clear influence of Sid Long’s decorative romanticism, but is only an influence, not a domination, for there constantly appears a variation towards a more personal vision.
She is perhaps less widely known because her paintings were comparatively few- not more than a dozen (1902-1914). She was part of the foundation group of women artists which the first decade of the 20th century produced. They included, Ethel Stephens, Maud Russell, Amy Vale, Florence Rodway, Gladys Owen and Thea Proctor. Among her fellow artists she was popular as much for her loveable character as for her devotion to painting.
Isobel’s health declined sharply from 1914 and she spent her final years at the Pines Private Hospital Randwick where she died on the 27th of June 1919 aged 36 years.
It is estimated that only a few dozen of her paintings were ever sold. the balance of her works which number 70-80 were in the possession of her brothers family home in Rose Bay, Sydney. They were discovered in 2006 when the last of the family left the home.
Isobel’s works are represented in the Australian National Gallery, Geelong Art Gallery, Cruther’s Collection, University of Western Australia and Howard Hinton Art Collection, Armidale.
Exhibitions:
Artists Society of NSW 1907 (Exhibiting with Arthur Streeton, Julian Ashton, JJ Hilder and Sid Long)
Art Society of NSW
Exhibition of Women’s Art, Exhibition Building, Melbourne 1907
Society of Artists Exhibition. Queen Victoria Markets, Sydney 1909
Society of Artists,Sydney 1911
Society of Womens Painters. Royal Arts Society Galleries, Sydney Oct 1912
Julian Ashton’s Show at Society of Artists Rooms. Queen Victoria Markets, Sydney. May, 1914
War Fund Art Union. Royal Arts Society Galleries. March 1915
‘Miss Isabel McWhannell’s landscape is infused with a fantastic spirit which pleases’.
(Sydney Morning Herald, p.9 9 March 1915)

Thurston Elizaview full entry

Reference: see day Fine Art website (at October, 2022):
Eliza Thurston, Capertee Valley, Taken from Crown Ridge on the Old Western Road 1869, Capertee Valley, Taken from Crown Ridge on the Old Western Rd 1869
Watercolour and Gouache on paper 38 x 51.9 cm Titled, signed and dated verso in pencil. Housed in a gilt period frame.
Provenance: Exhibited (Possibly) Intercolonial Exhibition, Agricultural Society of New South Wales, Sydney 1869, catalogue 1240 as ‘watercolour- Mountain Scene on the Bathurst Rd, Eliza Thurston, Millers Point. Exhibited at the Art Gallery of New South Wales, The Artist and The Patron 1988. Catalogue 105, Illustrated (full page) on page 123 of the exhibition catalogue.
Born: 1807 Died: 1873 Painter, was born on 5 August 1807 in Bath, Somersetshire, daughter of John West, an artist of Bath, and Anne née Calder. Her father worked as a painter and lithographer in Bath from about 1800 to 1830, specialising in miniature portraiture and scenes of the West Country and Wales. His landscapes have been described as 'relying on a few simplified outlines, sharply silhouetted forms, and a strong contrast between Indian ink shadows and areas of pale primrose or blue’, a description equally applicable to some of Eliza’s early drawings, although a great contrast to her later strong and colourful 'opaque’ works.
'J. West senior’ of North Parade, Bath exhibited a 3 feet 7 inch x 4 feet 8 inch (109 × 142 cm) painting of Berry Pomeroy Castle and Valley at London’s British Institution in 1824, using 'senior’ to distinguish himself from his son James Baugham West, a miniature painter and lithographer (later a surveyor at Cape Town, SA) who exhibited a miniature portrait of the Hon. Mrs Norton at the Royal Academy in 1856 from a London address. Another brother, Henry, was a well-known music teacher, conductor and composer at Bath. So it was hardly surprising that Eliza also became a painter, though she was not listed professionally as a 'Professor of Drawing’ in the Bath business directory until after she married John Noel Thurston in St James’s Church of England, Bath on 2 February 1830. Surviving pencil drawings from this period (p.c.) include one of a black and a white swan inscribed verso, 'Eliza Thurston. Teacher of Drawing. Bath’.
Eliza’s husband, an auctioneer at Bath, was the only child of Horatio Thurston of Kington House, Thornbury, Gloucestershire, and of Elizabeth, daughter of Rear-Admiral Holmes, but had clearly come down in the world since the Thurstons’ financial state was precarious. The Thornbury property had disappeared and John worked as a commercial traveller after their marriage. Any money Eliza earned from her paintings and drawing lessons was clearly welcome. The growing family, finally comprising three boys and three girls, moved between lodgings in Kensington New Town (now South Kensington) and Southampton. In 1845-46 they were living at Newington Green, Surrey; their sixth child, Emily Mary Ann , was born there.
However disadvantageous the circumstances, Eliza continued to paint. After John died of tuberculosis in May 1846 at St Helier, Jersey, leaving his widow and six children almost totally dependent upon a small legacy from Mrs Thurston’s grandfather, she decided that the future looked more promising in the colonies. The two eldest sons, John Bates and Horatio Thurston , reached Sydney in the Ann Holzberg on 4 September 1853 then John (a sailor on board) returned and collected the youngest son, Henry, who had stayed on to complete his schooling. Eliza Thurston and her three daughters arrived on 23 December 1853; John and Henry returned in 1855. On 16 January 1854, Mrs Thurston advertised as a 'Professor of Drawing and Painting in every style, Miniature Painter &c.’, stating that 'specimens and terms’ were available from the Bible Depository in Pitt Street and at Piddington’s, the stationers. She added that she would also accept orders addressed to her at the Glebe Post Office. In 1855 she was running a ladies’ seminary and teaching drawing at 59 Bourke Street, Woolloomooloo, but it was not a success; Eliza Thurston, widow, of 1 Horbury Terrace, Macquarie Street, was declared bankrupt on 13 December 1855. Her debtors included the booksellers Waugh & Cox who had supplied her with painting and sketching material valued at just over £13. She had another girls’ school at 62 Harrington Street in 1857 then disappears from Sydney directories.
In 1857 a Sydney artist catalogued as 'Miss’ E. Thurston exhibited with the Victorian Fine Arts Society in Melbourne, showing two paintings for sale at £20 each: Pont-ne-Valson, Glamorganshire and Snow Scene in the Highlands . There is no doubt that this was Eliza Thurston, the marital status simply a misprint; her large, rather gloomy painting of the Welsh bridge is still in family possession (and her daughter Eliza West Thurston was too young to have painted it). As well as similar landscape subjects, Mrs Thurston painted at least one historical work, The Retreat from Moscow . It too focused on the setting rather than the figures, depicting a soldier from Napoleon’s army lying exhausted in a wide expanse of snow with another bending over him.
Snow scenes were something of a speciality. Her Snow Piece, near Combe Teign Head, Devonshire , shown with the Society of British Artists at Suffolk Street in 1845 and awarded the society’s silver medal, apparently came to New South Wales with her since by 1869 it was owned by Mr Billyard. Thurston continued to paint such scenes in New South Wales, although she soon added colonial subjects to her repertoire. Most of her work is undated, although an inscription on the back of her watercolour The Town & Harbour of Sydney – N.S.W. Taken from the North Shore (ANZ Bank, Melbourne) includes the date 1857. Its viewpoint is similar to that in Conrad Martens 's well-known lithographic View of Sydney N.S.W. 1854 , but Thurston’s treatment is broader and more painterly; there is considerable variation in detail and it is by no means a simple copy. An undated oval Distant View of Sydney (w/c, DG) and other harbour views (p.c.) also survive, some in the coral and sea-shell frames she made for them.
In 1860 John Bates Thurston leased a farm, Rosedale, on the Georges River and set up house with his mother and his two unmarried sisters, Eliza and Emily. Less than two years later the river flooded and the family was ruined and forced to abandon the property. Mrs Thurston, Emily and Eliza lived with Horatio at Mudgee in 1865-67 and possibly earlier. Among the works singled out by the jurors as 'deserving of especial notice’ at the 1866 Melbourne Intercolonial Exhibition were two watercolour views of the Blue Mountains by Mrs Thurston, described as 'a lady 84 years old’. Although then aged about sixty (and there were no senior Elizas in the family), she was undoubtedly the 'amateur artist of Hartley’ who was showing four 'opaque’ watercolours of New South Wales scenery. Sent on to the 1867 Paris Universal Exhibition (with no special pleading for her age), her paintings were awarded a silver medal.
In 1869 Thurston was said to be living at Miller’s Point, Sydney (presumably at 31 Crown Road with her eldest child, Anne Maria, who had married a wealthy cast-iron manufacturer, Simon Zöllner, in 1855). She showed several watercolours at the New South Wales Agricultural Society’s inaugural exhibition that year, including Mountain Scene on Bathurst Road , one of several gouaches she painted of Capertee Valley from Crown Ridge on the Sydney-Bathurst road, a dramatic mountain view on the way to Horatio’s home at Mudgee. Three are in private collections and a version dated 1868 is in the Mitchell Library. An 1867 gouache of a man and woman huddled in the snow is also in a family collection together with a preliminary drawing for it – evidence of her habit of painting new versions of earlier subjects.
Eliza Thurston died at the Zöllner’s home – now at 38 Macleay Street, Potts Point – on 3 February 1873 and was buried in the Balmain Church of England Cemetery. After Horatio’s death his widow purchased several of her mother-in-law’s paintings from a member of the Cox family at Mudgee to hand on to her children. Most remain in family possession.
Eliza’s husband, an auctioneer and commercial traveller, was from a landed family that had come down in the world. The Thurstons’ financial position seems to have always been precarious and the growing family, finally consisting of three boys and three girls, moved between lodgings in Kensington New Town (now South Kensington) and Southampton. Any money Eliza earned from her paintings and from giving drawing lessons was clearly welcome. After John died of tuberculosis in May 1846 at St Helier, Jersey, Eliza decided that the future looked more promising in the colonies. She reached Sydney with her three daughters on 23 December 1853, to join and be joined by her sons.
Just over three weeks after she arrived, on 16 January 1854, Mrs Thurston advertised as a 'Professor of Drawing and Painting in every style, Miniature Painter &c.’, stating that 'specimens and terms’ were available from the Bible Depository in Pitt Street and at Piddington’s, the stationers. She added that she would also accept orders addressed to her at the Glebe Post Office. In 1855 she was running a ladies’ seminary and teaching drawing at 59 Bourke Street, Woolloomooloo, but this was not a success; Eliza Thurston, widow, of 1 Horbury Terrace, Macquarie Street, was declared bankrupt on 13 December. She had another girls’ school at 62 Harrington Street in 1857 then disappeared from Sydney directories. However, she showed two paintings for sale at £20 each with the Victorian Fine Arts Society in Melbourne that year: Pont-ne-Valson, Glamorganshire (still held by the family) and Snow Scene in the Highlands .
In 1860 John Bates Thurston leased a farm, Rosedale, on the Georges River and set up house with his mother and his two unmarried sisters, Eliza and Emily. Less than two years later the river flooded, the family was ruined and forced to abandon the property. Afterwards Mrs Thurston, Emily and Eliza lived at Mudgee with her son Horatio. Written by: Symons, Berry Note: primary biographer of DAA entry; co-biographer of Heritage entry Kerr, Joan Note: editor of DAA entry, co-biographer of Heritage entry; plus additions

Scott Harriett and Helenaview full entry

Reference: see day Fine Art website (at October, 2022):
Plate 17 Lithograph printed in black Ink | Hand coloured on buff paper Sheet size: 32.5 x 41.6 cm In good condition. Framed
$850
Harriet Scott (1830-1907)
Helena Scott (1832-1910)
Harriet and Helena Scott were the foremost natural science painters in New South Wales from 1850 until turn of the century, despite being born in an age when female scientific education was limited, women's 'gifts' were to be kept in the private sphere of home and hearth, and the professions were a male preserve. In Australia, as in England, the study of natural history was the pursuit of gentlemen, for whom amassing a collection was a status symbol. Yet, through prodigious talent, Harriet Scott and her younger sister Helena became esteemed as professional artists, brilliant natural history illustrators and meticulous specimen collectors. Contemporaries hailed their contribution to late colonial natural science, yet they were mostly forgotten until the twenty-first century. Extract from The dictionary of Sydney written by Catie Gilchrist 2015

Woolner Thomasview full entry

Reference: Georgiana : a biography of Georgiana McCrae, painter, diarist, pioneer / Brenda Niall ; with a catalogue of the plates by Caroline Clemente. McCrae painted some of the same sitters as Woolner.
Publishing details: MUP, 1994, xvii, 344 p., [12] p. of plates : ill. (some col.), geneal. tables, ports.

Australian Art in the Collection of the National Gallery of Victoriaview full entry

Reference: Australian Art in the Collection of the National Gallery of Victoria, by Elena Taylor I(editor). Essays on about 110 works which often include biographical information on the artists of these works.
Publishing details: Melbourne, Vic. : National Gallery of Victoria, 2016
pages

John Glover: Patterdale Farm and the Revelation of the Australian Landscape
view full entry

Reference: John Glover: Patterdale Farm and the Revelation of the Australian Landscape, by Ron Radford.
‘John Glover is Australia’s most distinguished early colonial artist and the only nineteenth-century painter to have had a successful career in Europe before migrating. He arrived from Britain to convict Tasmania in 1831 aged 64. Why did he, in old age, come to Australia and paint his most brilliant landscapes here? Ron Radford addresses these questions and examines Glover’s painting and farming at his Patterdale estate in northern Tasmania. He also records the recent saving of Glover’s 200-year-old Patterdale farmhouse and the re-creation of his studio and garden.Dr Radford stresses that Glover created Australia’s first great landscape canvases, many poignantly depicting the original Palawa inhabitants.’
Publishing details: Ovata Press, 2022, pb, 216pp, with index

Glover Johnview full entry

Reference: John Glover of Patterdale at Deddington, born 1767, died 1849 by K.R. von Stieglitz

Publishing details: Evandale, Tas. : K.R. von Stieglitz, 1952
3 leaves. Digital master available; JAFp BIO 204 copy National Library of Australia;
Ref: 1000

Duterrau Benjamin 6 refsview full entry

Reference: see John Glover: Patterdale Farm and the Revelation of the Australian Landscape, by Ron Radford.
‘John Glover is Australia’s most distinguished early colonial artist and the only nineteenth-century painter to have had a successful career in Europe before migrating. He arrived from Britain to convict Tasmania in 1831 aged 64. Why did he, in old age, come to Australia and paint his most brilliant landscapes here? Ron Radford addresses these questions and examines Glover’s painting and farming at his Patterdale estate in northern Tasmania. He also records the recent saving of Glover’s 200-year-old Patterdale farmhouse and the re-creation of his studio and garden.Dr Radford stresses that Glover created Australia’s first great landscape canvases, many poignantly depicting the original Palawa inhabitants.’
Publishing details: Ovata Press, 2022, pb, 216pp, with index

Allport Henry Curzon 2 refsview full entry

Reference: see John Glover: Patterdale Farm and the Revelation of the Australian Landscape, by Ron Radford.
‘John Glover is Australia’s most distinguished early colonial artist and the only nineteenth-century painter to have had a successful career in Europe before migrating. He arrived from Britain to convict Tasmania in 1831 aged 64. Why did he, in old age, come to Australia and paint his most brilliant landscapes here? Ron Radford addresses these questions and examines Glover’s painting and farming at his Patterdale estate in northern Tasmania. He also records the recent saving of Glover’s 200-year-old Patterdale farmhouse and the re-creation of his studio and garden.Dr Radford stresses that Glover created Australia’s first great landscape canvases, many poignantly depicting the original Palawa inhabitants.’
Publishing details: Ovata Press, 2022, pb, 216pp, with index

Allport Mary Morton 4 refsview full entry

Reference: see John Glover: Patterdale Farm and the Revelation of the Australian Landscape, by Ron Radford.
‘John Glover is Australia’s most distinguished early colonial artist and the only nineteenth-century painter to have had a successful career in Europe before migrating. He arrived from Britain to convict Tasmania in 1831 aged 64. Why did he, in old age, come to Australia and paint his most brilliant landscapes here? Ron Radford addresses these questions and examines Glover’s painting and farming at his Patterdale estate in northern Tasmania. He also records the recent saving of Glover’s 200-year-old Patterdale farmhouse and the re-creation of his studio and garden.Dr Radford stresses that Glover created Australia’s first great landscape canvases, many poignantly depicting the original Palawa inhabitants.’
Publishing details: Ovata Press, 2022, pb, 216pp, with index

Bock Thomas 4 refsview full entry

Reference: see John Glover: Patterdale Farm and the Revelation of the Australian Landscape, by Ron Radford.
‘John Glover is Australia’s most distinguished early colonial artist and the only nineteenth-century painter to have had a successful career in Europe before migrating. He arrived from Britain to convict Tasmania in 1831 aged 64. Why did he, in old age, come to Australia and paint his most brilliant landscapes here? Ron Radford addresses these questions and examines Glover’s painting and farming at his Patterdale estate in northern Tasmania. He also records the recent saving of Glover’s 200-year-old Patterdale farmhouse and the re-creation of his studio and garden.Dr Radford stresses that Glover created Australia’s first great landscape canvases, many poignantly depicting the original Palawa inhabitants.’
Publishing details: Ovata Press, 2022, pb, 216pp, with index

Boyes Thomas 4 refsview full entry

Reference: see John Glover: Patterdale Farm and the Revelation of the Australian Landscape, by Ron Radford.
‘John Glover is Australia’s most distinguished early colonial artist and the only nineteenth-century painter to have had a successful career in Europe before migrating. He arrived from Britain to convict Tasmania in 1831 aged 64. Why did he, in old age, come to Australia and paint his most brilliant landscapes here? Ron Radford addresses these questions and examines Glover’s painting and farming at his Patterdale estate in northern Tasmania. He also records the recent saving of Glover’s 200-year-old Patterdale farmhouse and the re-creation of his studio and garden.Dr Radford stresses that Glover created Australia’s first great landscape canvases, many poignantly depicting the original Palawa inhabitants.’
Publishing details: Ovata Press, 2022, pb, 216pp, with index

Dowling Henry several refsview full entry

Reference: see John Glover: Patterdale Farm and the Revelation of the Australian Landscape, by Ron Radford.
‘John Glover is Australia’s most distinguished early colonial artist and the only nineteenth-century painter to have had a successful career in Europe before migrating. He arrived from Britain to convict Tasmania in 1831 aged 64. Why did he, in old age, come to Australia and paint his most brilliant landscapes here? Ron Radford addresses these questions and examines Glover’s painting and farming at his Patterdale estate in northern Tasmania. He also records the recent saving of Glover’s 200-year-old Patterdale farmhouse and the re-creation of his studio and garden.Dr Radford stresses that Glover created Australia’s first great landscape canvases, many poignantly depicting the original Palawa inhabitants.’
Publishing details: Ovata Press, 2022, pb, 216pp, with index

Dowling Robert several refsview full entry

Reference: see John Glover: Patterdale Farm and the Revelation of the Australian Landscape, by Ron Radford.
‘John Glover is Australia’s most distinguished early colonial artist and the only nineteenth-century painter to have had a successful career in Europe before migrating. He arrived from Britain to convict Tasmania in 1831 aged 64. Why did he, in old age, come to Australia and paint his most brilliant landscapes here? Ron Radford addresses these questions and examines Glover’s painting and farming at his Patterdale estate in northern Tasmania. He also records the recent saving of Glover’s 200-year-old Patterdale farmhouse and the re-creation of his studio and garden.Dr Radford stresses that Glover created Australia’s first great landscape canvases, many poignantly depicting the original Palawa inhabitants.’
Publishing details: Ovata Press, 2022, pb, 216pp, with index

Glover Henry various refsview full entry

Reference: see John Glover: Patterdale Farm and the Revelation of the Australian Landscape, by Ron Radford.
‘John Glover is Australia’s most distinguished early colonial artist and the only nineteenth-century painter to have had a successful career in Europe before migrating. He arrived from Britain to convict Tasmania in 1831 aged 64. Why did he, in old age, come to Australia and paint his most brilliant landscapes here? Ron Radford addresses these questions and examines Glover’s painting and farming at his Patterdale estate in northern Tasmania. He also records the recent saving of Glover’s 200-year-old Patterdale farmhouse and the re-creation of his studio and garden.Dr Radford stresses that Glover created Australia’s first great landscape canvases, many poignantly depicting the original Palawa inhabitants.’
Publishing details: Ovata Press, 2022, pb, 216pp, with index

Glover John Richardson various refsview full entry

Reference: see John Glover: Patterdale Farm and the Revelation of the Australian Landscape, by Ron Radford.
‘John Glover is Australia’s most distinguished early colonial artist and the only nineteenth-century painter to have had a successful career in Europe before migrating. He arrived from Britain to convict Tasmania in 1831 aged 64. Why did he, in old age, come to Australia and paint his most brilliant landscapes here? Ron Radford addresses these questions and examines Glover’s painting and farming at his Patterdale estate in northern Tasmania. He also records the recent saving of Glover’s 200-year-old Patterdale farmhouse and the re-creation of his studio and garden.Dr Radford stresses that Glover created Australia’s first great landscape canvases, many poignantly depicting the original Palawa inhabitants.’
Publishing details: Ovata Press, 2022, pb, 216pp, with index

Hood Robin framers various refsview full entry

Reference: see John Glover: Patterdale Farm and the Revelation of the Australian Landscape, by Ron Radford.
‘John Glover is Australia’s most distinguished early colonial artist and the only nineteenth-century painter to have had a successful career in Europe before migrating. He arrived from Britain to convict Tasmania in 1831 aged 64. Why did he, in old age, come to Australia and paint his most brilliant landscapes here? Ron Radford addresses these questions and examines Glover’s painting and farming at his Patterdale estate in northern Tasmania. He also records the recent saving of Glover’s 200-year-old Patterdale farmhouse and the re-creation of his studio and garden.Dr Radford stresses that Glover created Australia’s first great landscape canvases, many poignantly depicting the original Palawa inhabitants.’
Publishing details: Ovata Press, 2022, pb, 216pp, with index

Mundy Henry 5 refsview full entry

Reference: see John Glover: Patterdale Farm and the Revelation of the Australian Landscape, by Ron Radford.
‘John Glover is Australia’s most distinguished early colonial artist and the only nineteenth-century painter to have had a successful career in Europe before migrating. He arrived from Britain to convict Tasmania in 1831 aged 64. Why did he, in old age, come to Australia and paint his most brilliant landscapes here? Ron Radford addresses these questions and examines Glover’s painting and farming at his Patterdale estate in northern Tasmania. He also records the recent saving of Glover’s 200-year-old Patterdale farmhouse and the re-creation of his studio and garden.Dr Radford stresses that Glover created Australia’s first great landscape canvases, many poignantly depicting the original Palawa inhabitants.’
Publishing details: Ovata Press, 2022, pb, 216pp, with index

Neill Robert 3 refsview full entry

Reference: see John Glover: Patterdale Farm and the Revelation of the Australian Landscape, by Ron Radford.
‘John Glover is Australia’s most distinguished early colonial artist and the only nineteenth-century painter to have had a successful career in Europe before migrating. He arrived from Britain to convict Tasmania in 1831 aged 64. Why did he, in old age, come to Australia and paint his most brilliant landscapes here? Ron Radford addresses these questions and examines Glover’s painting and farming at his Patterdale estate in northern Tasmania. He also records the recent saving of Glover’s 200-year-old Patterdale farmhouse and the re-creation of his studio and garden.Dr Radford stresses that Glover created Australia’s first great landscape canvases, many poignantly depicting the original Palawa inhabitants.’
Publishing details: Ovata Press, 2022, pb, 216pp, with index

Prout J S 4 refsview full entry

Reference: see John Glover: Patterdale Farm and the Revelation of the Australian Landscape, by Ron Radford.
‘John Glover is Australia’s most distinguished early colonial artist and the only nineteenth-century painter to have had a successful career in Europe before migrating. He arrived from Britain to convict Tasmania in 1831 aged 64. Why did he, in old age, come to Australia and paint his most brilliant landscapes here? Ron Radford addresses these questions and examines Glover’s painting and farming at his Patterdale estate in northern Tasmania. He also records the recent saving of Glover’s 200-year-old Patterdale farmhouse and the re-creation of his studio and garden.Dr Radford stresses that Glover created Australia’s first great landscape canvases, many poignantly depicting the original Palawa inhabitants.’
Publishing details: Ovata Press, 2022, pb, 216pp, with index

Strasnge Frederick 2 refsview full entry

Reference: see John Glover: Patterdale Farm and the Revelation of the Australian Landscape, by Ron Radford.
‘John Glover is Australia’s most distinguished early colonial artist and the only nineteenth-century painter to have had a successful career in Europe before migrating. He arrived from Britain to convict Tasmania in 1831 aged 64. Why did he, in old age, come to Australia and paint his most brilliant landscapes here? Ron Radford addresses these questions and examines Glover’s painting and farming at his Patterdale estate in northern Tasmania. He also records the recent saving of Glover’s 200-year-old Patterdale farmhouse and the re-creation of his studio and garden.Dr Radford stresses that Glover created Australia’s first great landscape canvases, many poignantly depicting the original Palawa inhabitants.’
Publishing details: Ovata Press, 2022, pb, 216pp, with index

Wainewright Thomas 2 refsview full entry

Reference: see John Glover: Patterdale Farm and the Revelation of the Australian Landscape, by Ron Radford.
‘John Glover is Australia’s most distinguished early colonial artist and the only nineteenth-century painter to have had a successful career in Europe before migrating. He arrived from Britain to convict Tasmania in 1831 aged 64. Why did he, in old age, come to Australia and paint his most brilliant landscapes here? Ron Radford addresses these questions and examines Glover’s painting and farming at his Patterdale estate in northern Tasmania. He also records the recent saving of Glover’s 200-year-old Patterdale farmhouse and the re-creation of his studio and garden.Dr Radford stresses that Glover created Australia’s first great landscape canvases, many poignantly depicting the original Palawa inhabitants.’
Publishing details: Ovata Press, 2022, pb, 216pp, with index

New Australian printmakingview full entry

Reference: New Australian printmaking, edited by Jessica Cole, Cathy Leahy and Anne Virgo OAM. •
Features works by Megan Cope
Shaun Gladwell
Tim Maguire
Patricia Piccinin.

Publishing details: Melbourne, Victoria : National Gallery of Victoria, 2022, 201 pages : illustrations (some colour) ;
Ref: 1000

Megan Cope
view full entry

Reference: see New Australian printmaking, edited by Jessica Cole, Cathy Leahy and Anne Virgo OAM. •
Features works by Megan Cope
Shaun Gladwell
Tim Maguire
Patricia Piccinin.

Publishing details: Melbourne, Victoria : National Gallery of Victoria, 2022, 201 pages : illustrations (some colour) ;

Gladwell Shaun

view full entry

Reference: see New Australian printmaking, edited by Jessica Cole, Cathy Leahy and Anne Virgo OAM. •
Features works by Megan Cope
Shaun Gladwell
Tim Maguire
Patricia Piccinin.

Publishing details: Melbourne, Victoria : National Gallery of Victoria, 2022, 201 pages : illustrations (some colour) ;

Maguire Tim
view full entry

Reference: see New Australian printmaking, edited by Jessica Cole, Cathy Leahy and Anne Virgo OAM. •
Features works by Megan Cope
Shaun Gladwell
Tim Maguire
Patricia Piccinin.

Publishing details: Melbourne, Victoria : National Gallery of Victoria, 2022, 201 pages : illustrations (some colour) ;

Piccinini Patricia

view full entry

Reference: see New Australian printmaking, edited by Jessica Cole, Cathy Leahy and Anne Virgo OAM. •
Features works by Megan Cope
Shaun Gladwell
Tim Maguire
Patricia Piccinin.

Publishing details: Melbourne, Victoria : National Gallery of Victoria, 2022, 201 pages : illustrations (some colour) ;

printmaking
view full entry

Reference: see New Australian printmaking, edited by Jessica Cole, Cathy Leahy and Anne Virgo OAM. •
Features works by Megan Cope
Shaun Gladwell
Tim Maguire
Patricia Piccinin.

Publishing details: Melbourne, Victoria : National Gallery of Victoria, 2022, 201 pages : illustrations (some colour) ;

Clarke Mareeview full entry

Reference: Maree Clarke : Ancestral Memories / edited by Myles Russell-Cook with contributors.
"...Covering more than three decades of artistic output, the exhibition traverses Clarke's multidisciplinary practice across photography, printmaking, sculpture, jewellery, video, glass, and more..." -- publisher's website.
Publishing details: Melbourne, Victoria : Council of Trustees, National Gallery of Victoria, 2021, ix, 193 pages : illustrations, portraits
Ref: 1000

After The Australian ugliness architectureview full entry

Reference: After The Australian ugliness / edited by Naomi Stead, Tom Lee, Ewan McEoin and Megan Patty ; [foreword by] Tony Ellwood AM ; [preface by] Tony Issacson.
Robin Boyd's The Australian Ugliness was published in 1960 and quickly took its place as a key work of architectural and cultural critique in the nation's canon. This new book responds to Boyd's most well-known text with new critical and creative writing by authors from a range of disciplines. Through different styles and approaches, each author makes Boyd's work live in the contemporary moment, exploring enduring questions about the elusive, sometimes lucky and sometimes ugly character of Australia today.
Full contents • Before, during and after The Australian ugliness / Naomi Stead and Tom Lee with Ewan McEoin and Megan Patty
• Peeling back the veneer / Alison Page
• Holding up the mirror: The Australian ugliness and Australian architecture / Philip Goad
• Gradually sagging spirits: revisiting urban planning in Australian since The Australian ugliness / Liz Taylor
• Robin Boyd's The Australian ugliness and liberal education / John Macarthur
• Easy living in uneasy skins / Eugenia Lim
• Casting nasturtiums: suburban satire and The Australian 'ugliness' of Kath & Kim / Naomi Stead
• Experiential interiors: correcting the fallacies of featurism / Tom Lee
• Postcards from the El Dorado Motel / Michael Ryan
• Scenes of (not) reading: a descent into Australian ugliness / Guest, Riggs
more...

Notes Catalogue for exhibition held at NGV Melbourne on 2 April to 22 August 2021.
Includes bibliographical references and index.
Publishing details: Melbourne, Victoria : National Gallery of Victoria in association with Thames & Hudson Australia, 2021,
xiii, 279 pages : illustrations (some colour), facsimiles (chiefly colour) ;
Ref: 1000

architectureview full entry

Reference: see After The Australian ugliness / edited by Naomi Stead, Tom Lee, Ewan McEoin and Megan Patty ; [foreword by] Tony Ellwood AM ; [preface by] Tony Issacson.
Robin Boyd's The Australian Ugliness was published in 1960 and quickly took its place as a key work of architectural and cultural critique in the nation's canon. This new book responds to Boyd's most well-known text with new critical and creative writing by authors from a range of disciplines. Through different styles and approaches, each author makes Boyd's work live in the contemporary moment, exploring enduring questions about the elusive, sometimes lucky and sometimes ugly character of Australia today.
Full contents • Before, during and after The Australian ugliness / Naomi Stead and Tom Lee with Ewan McEoin and Megan Patty
• Peeling back the veneer / Alison Page
• Holding up the mirror: The Australian ugliness and Australian architecture / Philip Goad
• Gradually sagging spirits: revisiting urban planning in Australian since The Australian ugliness / Liz Taylor
• Robin Boyd's The Australian ugliness and liberal education / John Macarthur
• Easy living in uneasy skins / Eugenia Lim
• Casting nasturtiums: suburban satire and The Australian 'ugliness' of Kath & Kim / Naomi Stead
• Experiential interiors: correcting the fallacies of featurism / Tom Lee
• Postcards from the El Dorado Motel / Michael Ryan
• Scenes of (not) reading: a descent into Australian ugliness / Guest, Riggs
more...

Notes Catalogue for exhibition held at NGV Melbourne on 2 April to 22 August 2021.
Includes bibliographical references and index.
Publishing details: Melbourne, Victoria : National Gallery of Victoria in association with Thames & Hudson Australia, 2021,
xiii, 279 pages : illustrations (some colour), facsimiles (chiefly colour) ;

Boyd Robinview full entry

Reference: see After The Australian ugliness / edited by Naomi Stead, Tom Lee, Ewan McEoin and Megan Patty ; [foreword by] Tony Ellwood AM ; [preface by] Tony Issacson.
Robin Boyd's The Australian Ugliness was published in 1960 and quickly took its place as a key work of architectural and cultural critique in the nation's canon. This new book responds to Boyd's most well-known text with new critical and creative writing by authors from a range of disciplines. Through different styles and approaches, each author makes Boyd's work live in the contemporary moment, exploring enduring questions about the elusive, sometimes lucky and sometimes ugly character of Australia today.
Full contents • Before, during and after The Australian ugliness / Naomi Stead and Tom Lee with Ewan McEoin and Megan Patty
• Peeling back the veneer / Alison Page
• Holding up the mirror: The Australian ugliness and Australian architecture / Philip Goad
• Gradually sagging spirits: revisiting urban planning in Australian since The Australian ugliness / Liz Taylor
• Robin Boyd's The Australian ugliness and liberal education / John Macarthur
• Easy living in uneasy skins / Eugenia Lim
• Casting nasturtiums: suburban satire and The Australian 'ugliness' of Kath & Kim / Naomi Stead
• Experiential interiors: correcting the fallacies of featurism / Tom Lee
• Postcards from the El Dorado Motel / Michael Ryan
• Scenes of (not) reading: a descent into Australian ugliness / Guest, Riggs
more...

Notes Catalogue for exhibition held at NGV Melbourne on 2 April to 22 August 2021.
Includes bibliographical references and index.
Publishing details: Melbourne, Victoria : National Gallery of Victoria in association with Thames & Hudson Australia, 2021,
xiii, 279 pages : illustrations (some colour), facsimiles (chiefly colour) ;

Eucalyptusdomview full entry

Reference: Eucalyptusdom.
Eucalyptusdom reckons with Australia’s cultural history and ever-changing relationship with the gum tree. This publication expands upon a body of research and creative output generated via the eponymous exhibition at Powerhouse Ultimo, 11 October 2021 – 28 August 2022. It showcases the more than 20 creative practitioners commissioned to produce new works in dialogue with 500+ objects from the Powerhouse collection. The publication also offers insights from the award-winning exhibition design team and includes a new work of literary non-fiction by acclaimed Australian author Ashley Hay, a 32-page folio of art photography by Amanda Williams, and an oral history shared by D’harawal Elder Aunty Fran Bodkin. Edited by Sally Rose. Design by Studio Ongarato.

Publishing details: books at Manic, 2022
Ref: 1000

books at Manicview full entry

Reference: Lucy McRae : body architect / Simone Le Amon and contributors
‘How will technology transform the body? Lucy McRae - body architect, designer and science-fiction artist - contemplates this question through film and images.’
Publishing details: Melbourne, Victoria : Council of Trustees, National Gallery of Victoria, 2019, xi, 138 pages : illustrations
Ref: 1000

Kreckler Derekview full entry

Reference: Derek Kreckler : accident & process / Derek Kreckler ; editor Hannah Mathews ; authors, Helen Ennis, Richard Grayson, Kyla McFarlane, Ian McLean, Hannah Mathews, Sarah Miller, Quentin Sprague, Frazer Ward.
• Front matter
• Foreword / Hannah Mathews
• Introduction: here comes everyone / Richard Grayson
• Untitled moment / Quentin Sprague
• (Not) by chance: performance & process in the work of Derek Kreckler / Sarah Miller
• White goods, dark knowing / Helen Ennis
• A journey into the age of post-appropriation: Derek Kreckler's 'appropriated circumstance' / Ian McLean
• Working for you / Frazer Ward
• Littoral / Kyla McFarlane
• Biography
Publishing details: Australia Perimeter Editions, 2015
111 pages : illustrations (some colour)
Ref: 1000

Hostingsview full entry

Reference: Hostings : Ocular Lab, 2003-10 / editors, Julie Davies and Brad Haylock ; essays, Zara Stanhope and Stephen ZagalaThis publication documents and celebrates the eight-year history of Ocular Lab Inc., an artist-run initiative that occupied a disused milk bar in West Brunswick, Melbourne.
Notes Surpllus #9.
"Produced on the occasion of the exhibition Ocular Lab Inc. at the VCA Margaret Lawrence Gallery, 12 April - 5 May 2012" -- publisher's website.
Publishing details: Flinders Lane, Victoria, Australia : Surpllus Pty Ltd., 2012, 113 pages : illustrations (chiefly colour) ;
Ref: 1000

Ocular Labview full entry

Reference: see Hostings : Ocular Lab, 2003-10 / editors, Julie Davies and Brad Haylock ; essays, Zara Stanhope and Stephen ZagalaThis publication documents and celebrates the eight-year history of Ocular Lab Inc., an artist-run initiative that occupied a disused milk bar in West Brunswick, Melbourne.
Notes Surpllus #9.
"Produced on the occasion of the exhibition Ocular Lab Inc. at the VCA Margaret Lawrence Gallery, 12 April - 5 May 2012" -- publisher's website.
Publishing details: Flinders Lane, Victoria, Australia : Surpllus Pty Ltd., 2012, 113 pages : illustrations (chiefly colour) ;

Hester Biancaview full entry

Reference: Groundwork / Bianca Hester
Groundwork, a major new book by Sydney-based artist Bianca Hester, finds its footing in the volcanic terrain of Tāmaki Makaurau Auckland (Aotearoa New Zealand). An expanded sculptural project that grew out of a series of research residencies in 2015, Groundwork is both social and geological in scope. Focused on a series of sites across the city where human activity, geology and ecology have converged in fraught and revealing ways, the book maps connections between the landscapes of Te Kōpuke Mount St John and Te Tokaroa Meola Reef; Ihumātao and Takapuna; Waterview and Matukutūruru Wiri Mountain. Through collaborative and consultative processes with local people, this work encompasses walking, sculptural production, exhibition, archival research and writing between 2015 and 2020. Engaging with landscape as a nexus of geologic materialities, nonhuman durations, land expropriation, extractive activities and ecological transformations, the book proposes ways to apprehend the complex sedimentations of a city.

Publishing details: Perimeter Editions, [2021]
208 pages : colour illustrations, maps, photographs ; 28 cm + 1 loose leaf map, 1 script. First edition of 500.
Ref: 1000

Heide by Pi Oview full entry

Reference: Heide by Pi O
The third volume in π.O.'s epic trilogy, after 24 Hours and Fitzroy: The Biography, and the first to be published by a trade publisher for national distribution. Heide is an epic poem about history, painting, painters, patrons and the people who made art happen in Australia - from Louis Buvelot to Edith Rowan, Tom Roberts and Robert Streeton to Vassilief, Nolan, Tucker, Joy Hester, the Boyds, Mirka Mora, and Albert Namatjira, with a particular focus on the artists gathered around Sunday and John Reed at Heide in Melbourne. It is a poem that explores the influence of art and poetry on the psyche, and the influence of social class on both, from the upper echelons and industrialists of Melbourne, to the struggle of the working class through such artists as Alisa O'Connor, Noel Counihan and Yosl Bergner. It begins with the foundation of Melbourne, and in its epic scope traverses an encyclopaedic range of subjects, assembled from facts, quotations, proverbs, definitions, historical documents, newspaper accounts and the author's own reminiscences. Heide is about the poets and artists who put their lives on the line, the Australian preoccupation with landscape, the dominance of a masculinist aesthetic, the sidelining and denigration of Indigenous art, the struggle of women artists to assert their influence and presence, and the impact of migration on Australian culture. It is a long poem made up of almost 300 poems, each bringing to life characters and incidents that are fleshed out in vivid detail and with a dramatic intensity unique in Australian poetry.
Notes Includes index.
On item "Pi. O." appears as the Greek symbols π.o.
Publishing details: Artarmon, NSW : Giramondo Publishing, 2019
555 pages ;
Ref: 1000

Hartigan Patrickview full entry

Reference: Offcuts / Patrick Hartigan
‘Artist Patrick Hartigan recalls the weeks leading to his father's death and his daughter's birth. The people he meets, the places he visits, even the objects he touches for a moment, take on a radiance usually seen in artworks we admire. Part visual memoir, part meditation on the colours and contours of life's events, Offcuts reveals the substance of seemingly mundane moments. With stylistic precision and unreserved sincerity, Hartigan has created a work of art akin to Knausgaard's My Struggle, with the difference that he has distilled his raw material.’

Publishing details: Summer Hill, New South Wales : Gazebo Books, 2019, 138 pages : colour illustrations
Ref: 1000

Snips & Snaps: The Frithsview full entry

Reference: Snips & Snaps: The Friths, by Noel Tozer.
‘In the early nineteenth century, likenesses in profile, or silhouettes, sometimes delicately highlighted in gold were all ordinary folk could afford. The Frith family, John, his three children, Frederick, Henry Albert, and Letitia, travelled the British Isles inviting the "gentry and residents" to sit for these "highly finished" portraits. This art form was overtaken by the camera and photographic portraiture. The younger Friths emigrated to Australia and New Zealand where they adapted to this new medium with the same skills, producing a record of nineteenth century Tasmania, Victoria and New Zealand and their peoples, both indigenous and the newly settled. This is the story of that transition. AUTHOR: Noel Tozer is the great-grandson of Frederick Frith. His interest in the achievements of the Frith family arose through a simple query into the genealogy of the family. Very little was known of the place of the Friths in the art world, either as portraitists or photographers, so this became a real 'Who do you think you are?' project. He is a professional engineer who worked for over 40 years in the chemical industry, also holding a degree in commerce where his interest in economic and industrial history was sparked. In retirement, he lives in Melbourne. This is his first publication.
‘
Publishing details: Edmund & Alexander, 2018, 288pp

Frith family of photogrsaphersview full entry

Reference: see Snips & Snaps: The Friths, by Noel Tozer.
‘In the early nineteenth century, likenesses in profile, or silhouettes, sometimes delicately highlighted in gold were all ordinary folk could afford. The Frith family, John, his three children, Frederick, Henry Albert, and Letitia, travelled the British Isles inviting the "gentry and residents" to sit for these "highly finished" portraits. This art form was overtaken by the camera and photographic portraiture. The younger Friths emigrated to Australia and New Zealand where they adapted to this new medium with the same skills, producing a record of nineteenth century Tasmania, Victoria and New Zealand and their peoples, both indigenous and the newly settled. This is the story of that transition. AUTHOR: Noel Tozer is the great-grandson of Frederick Frith. His interest in the achievements of the Frith family arose through a simple query into the genealogy of the family. Very little was known of the place of the Friths in the art world, either as portraitists or photographers, so this became a real 'Who do you think you are?' project. He is a professional engineer who worked for over 40 years in the chemical industry, also holding a degree in commerce where his interest in economic and industrial history was sparked. In retirement, he lives in Melbourne. This is his first publication.
‘
Publishing details: Edmund & Alexander, 2018, 288pp

Frith John photographer view full entry

Reference: see Snips & Snaps: The Friths, by Noel Tozer.
‘In the early nineteenth century, likenesses in profile, or silhouettes, sometimes delicately highlighted in gold were all ordinary folk could afford. The Frith family, John, his three children, Frederick, Henry Albert, and Letitia, travelled the British Isles inviting the "gentry and residents" to sit for these "highly finished" portraits. This art form was overtaken by the camera and photographic portraiture. The younger Friths emigrated to Australia and New Zealand where they adapted to this new medium with the same skills, producing a record of nineteenth century Tasmania, Victoria and New Zealand and their peoples, both indigenous and the newly settled. This is the story of that transition. AUTHOR: Noel Tozer is the great-grandson of Frederick Frith. His interest in the achievements of the Frith family arose through a simple query into the genealogy of the family. Very little was known of the place of the Friths in the art world, either as portraitists or photographers, so this became a real 'Who do you think you are?' project. He is a professional engineer who worked for over 40 years in the chemical industry, also holding a degree in commerce where his interest in economic and industrial history was sparked. In retirement, he lives in Melbourne. This is his first publication.
‘
Publishing details: Edmund & Alexander, 2018, 288pp

Frith Frederick photographer view full entry

Reference: see Snips & Snaps: The Friths, by Noel Tozer.
‘In the early nineteenth century, likenesses in profile, or silhouettes, sometimes delicately highlighted in gold were all ordinary folk could afford. The Frith family, John, his three children, Frederick, Henry Albert, and Letitia, travelled the British Isles inviting the "gentry and residents" to sit for these "highly finished" portraits. This art form was overtaken by the camera and photographic portraiture. The younger Friths emigrated to Australia and New Zealand where they adapted to this new medium with the same skills, producing a record of nineteenth century Tasmania, Victoria and New Zealand and their peoples, both indigenous and the newly settled. This is the story of that transition. AUTHOR: Noel Tozer is the great-grandson of Frederick Frith. His interest in the achievements of the Frith family arose through a simple query into the genealogy of the family. Very little was known of the place of the Friths in the art world, either as portraitists or photographers, so this became a real 'Who do you think you are?' project. He is a professional engineer who worked for over 40 years in the chemical industry, also holding a degree in commerce where his interest in economic and industrial history was sparked. In retirement, he lives in Melbourne. This is his first publication.
‘
Publishing details: Edmund & Alexander, 2018, 288pp

Frith Henry Albert photographer view full entry

Reference: see Snips & Snaps: The Friths, by Noel Tozer.
‘In the early nineteenth century, likenesses in profile, or silhouettes, sometimes delicately highlighted in gold were all ordinary folk could afford. The Frith family, John, his three children, Frederick, Henry Albert, and Letitia, travelled the British Isles inviting the "gentry and residents" to sit for these "highly finished" portraits. This art form was overtaken by the camera and photographic portraiture. The younger Friths emigrated to Australia and New Zealand where they adapted to this new medium with the same skills, producing a record of nineteenth century Tasmania, Victoria and New Zealand and their peoples, both indigenous and the newly settled. This is the story of that transition. AUTHOR: Noel Tozer is the great-grandson of Frederick Frith. His interest in the achievements of the Frith family arose through a simple query into the genealogy of the family. Very little was known of the place of the Friths in the art world, either as portraitists or photographers, so this became a real 'Who do you think you are?' project. He is a professional engineer who worked for over 40 years in the chemical industry, also holding a degree in commerce where his interest in economic and industrial history was sparked. In retirement, he lives in Melbourne. This is his first publication.
‘
Publishing details: Edmund & Alexander, 2018, 288pp

Frith Letitia photographer view full entry

Reference: see Snips & Snaps: The Friths, by Noel Tozer.
‘In the early nineteenth century, likenesses in profile, or silhouettes, sometimes delicately highlighted in gold were all ordinary folk could afford. The Frith family, John, his three children, Frederick, Henry Albert, and Letitia, travelled the British Isles inviting the "gentry and residents" to sit for these "highly finished" portraits. This art form was overtaken by the camera and photographic portraiture. The younger Friths emigrated to Australia and New Zealand where they adapted to this new medium with the same skills, producing a record of nineteenth century Tasmania, Victoria and New Zealand and their peoples, both indigenous and the newly settled. This is the story of that transition. AUTHOR: Noel Tozer is the great-grandson of Frederick Frith. His interest in the achievements of the Frith family arose through a simple query into the genealogy of the family. Very little was known of the place of the Friths in the art world, either as portraitists or photographers, so this became a real 'Who do you think you are?' project. He is a professional engineer who worked for over 40 years in the chemical industry, also holding a degree in commerce where his interest in economic and industrial history was sparked. In retirement, he lives in Melbourne. This is his first publication.
‘
Publishing details: Edmund & Alexander, 2018, 288pp

Sunday’s Garden - Growing Heideview full entry

Reference: Sunday’s Garden - Growing Heide by Lesley Harding and Kendrah Morgan
[to be indexed]
Sunday’s garden explores how Sunday and John Reed transformed a once-neglected former dairy farm in Heidelberg into a lush artist’s colony teeming with life.
Edited by Lesley Harding and Kendrah Morgan, both curators at Heide Museum of Modern Art, the book was researched using many of the Library's collections.
Publishing details: Publisher: The Miegunyah Press in association with Heide Museum of Modern Art and State Library Victoria Available to read in the Library
Ref: 1000

Molvig Jonview full entry

Reference: Jon Molvig (1923-1970) : a Queensland modern.
Catalogue essay by Glenn R. Cooke.
Exhibition held at Heiser Gallery from 18 July-19 August 2006.
Publishing details: Heiser Gallery, 2006
[7] p. : col. ill ; 21 cm + 1 price list.
Ref: 1000

Graphic Identitiesview full entry

Reference: Graphic identities : 20th century Australian design / editor, Horacio Silva ; art director, Dominic Hofstede ; texts, Elizabeth Glickfeld. Includes biographies.
Graphic Identities presents the work of eight designers practicing in Australia from the 1930s to 1980s whose stories when taken together tell a compelling narrative of visual culture in this country. The names Douglas Annand, Frances Burke, Dahl Collings, Pieter Huveneers, Arthur Leydin, Alistair Morrison and Shirley de Vocht resonate within their industries, but their designs have impacted all our lives through currency, packaging and postage stamps as well as advertising, publishing and architectural signage. Their work in retail (including Myer, David Jones, Farmers), travel (Qantas, Orient Line, Hayman Island), alcohol (Penfolds, Tooth and Co) and banking (Westpac, Reserve Bank of Australia) have solidified the image of some our most iconic brands. Pioneers of a new Australian aesthetic in open dialogue with international art and design movements, many of the designers in Graphic Identities contributed to the professionalisation of the design sector through industry organisations as well as educational institutions. All played a part in formulating a bold, original, and sophisticated body of work - marking the apotheosis of the analogue era. As an adjunct to the Graphic Identities exhibition at the Powerhouse, Sydney, curated by Senior Curator of Design and Architecture, Keinton Butler, the publication features over 100 reproductions of unique work acquired by the Museum from the estates of the designers from the late-1980s onwards.
Notes "Graphic identities was curated by Keinton Butler, Senior Curator of design and Architecture, with curatorial assistance by Vanessa Jacob at the Powerhouse Museum, Sydney, October 2021-February 2022. This publication was commissioned and produced as an adjunct to that exhibition."--Colophon.
Publishing details: Powerhouse Publishing, 2021, 160 pages : illustrations (some colour)

Annand Douglas view full entry

Reference: see Graphic identities : 20th century Australian design / editor, Horacio Silva ; art director, Dominic Hofstede ; texts, Elizabeth Glickfeld. Includes biographies.
Graphic Identities presents the work of eight designers practicing in Australia from the 1930s to 1980s whose stories when taken together tell a compelling narrative of visual culture in this country. The names Douglas Annand, Frances Burke, Dahl Collings, Pieter Huveneers, Arthur Leydin, Alistair Morrison and Shirley de Vocht resonate within their industries, but their designs have impacted all our lives through currency, packaging and postage stamps as well as advertising, publishing and architectural signage. Their work in retail (including Myer, David Jones, Farmers), travel (Qantas, Orient Line, Hayman Island), alcohol (Penfolds, Tooth and Co) and banking (Westpac, Reserve Bank of Australia) have solidified the image of some our most iconic brands. Pioneers of a new Australian aesthetic in open dialogue with international art and design movements, many of the designers in Graphic Identities contributed to the professionalisation of the design sector through industry organisations as well as educational institutions. All played a part in formulating a bold, original, and sophisticated body of work - marking the apotheosis of the analogue era. As an adjunct to the Graphic Identities exhibition at the Powerhouse, Sydney, curated by Senior Curator of Design and Architecture, Keinton Butler, the publication features over 100 reproductions of unique work acquired by the Museum from the estates of the designers from the late-1980s onwards.
Notes "Graphic identities was curated by Keinton Butler, Senior Curator of design and Architecture, with curatorial assistance by Vanessa Jacob at the Powerhouse Museum, Sydney, October 2021-February 2022. This publication was commissioned and produced as an adjunct to that exhibition."--Colophon.
Publishing details: Powerhouse Publishing, 2021, 160 pages : illustrations (some colour)

Burke Frances view full entry

Reference: see Graphic identities : 20th century Australian design / editor, Horacio Silva ; art director, Dominic Hofstede ; texts, Elizabeth Glickfeld. Includes biographies.
Graphic Identities presents the work of eight designers practicing in Australia from the 1930s to 1980s whose stories when taken together tell a compelling narrative of visual culture in this country. The names Douglas Annand, Frances Burke, Dahl Collings, Pieter Huveneers, Arthur Leydin, Alistair Morrison and Shirley de Vocht resonate within their industries, but their designs have impacted all our lives through currency, packaging and postage stamps as well as advertising, publishing and architectural signage. Their work in retail (including Myer, David Jones, Farmers), travel (Qantas, Orient Line, Hayman Island), alcohol (Penfolds, Tooth and Co) and banking (Westpac, Reserve Bank of Australia) have solidified the image of some our most iconic brands. Pioneers of a new Australian aesthetic in open dialogue with international art and design movements, many of the designers in Graphic Identities contributed to the professionalisation of the design sector through industry organisations as well as educational institutions. All played a part in formulating a bold, original, and sophisticated body of work - marking the apotheosis of the analogue era. As an adjunct to the Graphic Identities exhibition at the Powerhouse, Sydney, curated by Senior Curator of Design and Architecture, Keinton Butler, the publication features over 100 reproductions of unique work acquired by the Museum from the estates of the designers from the late-1980s onwards.
Notes "Graphic identities was curated by Keinton Butler, Senior Curator of design and Architecture, with curatorial assistance by Vanessa Jacob at the Powerhouse Museum, Sydney, October 2021-February 2022. This publication was commissioned and produced as an adjunct to that exhibition."--Colophon.
Publishing details: Powerhouse Publishing, 2021, 160 pages : illustrations (some colour)

Collings Dahl view full entry

Reference: see Graphic identities : 20th century Australian design / editor, Horacio Silva ; art director, Dominic Hofstede ; texts, Elizabeth Glickfeld. Includes biographies.
Graphic Identities presents the work of eight designers practicing in Australia from the 1930s to 1980s whose stories when taken together tell a compelling narrative of visual culture in this country. The names Douglas Annand, Frances Burke, Dahl Collings, Pieter Huveneers, Arthur Leydin, Alistair Morrison and Shirley de Vocht resonate within their industries, but their designs have impacted all our lives through currency, packaging and postage stamps as well as advertising, publishing and architectural signage. Their work in retail (including Myer, David Jones, Farmers), travel (Qantas, Orient Line, Hayman Island), alcohol (Penfolds, Tooth and Co) and banking (Westpac, Reserve Bank of Australia) have solidified the image of some our most iconic brands. Pioneers of a new Australian aesthetic in open dialogue with international art and design movements, many of the designers in Graphic Identities contributed to the professionalisation of the design sector through industry organisations as well as educational institutions. All played a part in formulating a bold, original, and sophisticated body of work - marking the apotheosis of the analogue era. As an adjunct to the Graphic Identities exhibition at the Powerhouse, Sydney, curated by Senior Curator of Design and Architecture, Keinton Butler, the publication features over 100 reproductions of unique work acquired by the Museum from the estates of the designers from the late-1980s onwards.
Notes "Graphic identities was curated by Keinton Butler, Senior Curator of design and Architecture, with curatorial assistance by Vanessa Jacob at the Powerhouse Museum, Sydney, October 2021-February 2022. This publication was commissioned and produced as an adjunct to that exhibition."--Colophon.
Publishing details: Powerhouse Publishing, 2021, 160 pages : illustrations (some colour)

Huveneers Pieter view full entry

Reference: see Graphic identities : 20th century Australian design / editor, Horacio Silva ; art director, Dominic Hofstede ; texts, Elizabeth Glickfeld. Includes biographies.
Graphic Identities presents the work of eight designers practicing in Australia from the 1930s to 1980s whose stories when taken together tell a compelling narrative of visual culture in this country. The names Douglas Annand, Frances Burke, Dahl Collings, Pieter Huveneers, Arthur Leydin, Alistair Morrison and Shirley de Vocht resonate within their industries, but their designs have impacted all our lives through currency, packaging and postage stamps as well as advertising, publishing and architectural signage. Their work in retail (including Myer, David Jones, Farmers), travel (Qantas, Orient Line, Hayman Island), alcohol (Penfolds, Tooth and Co) and banking (Westpac, Reserve Bank of Australia) have solidified the image of some our most iconic brands. Pioneers of a new Australian aesthetic in open dialogue with international art and design movements, many of the designers in Graphic Identities contributed to the professionalisation of the design sector through industry organisations as well as educational institutions. All played a part in formulating a bold, original, and sophisticated body of work - marking the apotheosis of the analogue era. As an adjunct to the Graphic Identities exhibition at the Powerhouse, Sydney, curated by Senior Curator of Design and Architecture, Keinton Butler, the publication features over 100 reproductions of unique work acquired by the Museum from the estates of the designers from the late-1980s onwards.
Notes "Graphic identities was curated by Keinton Butler, Senior Curator of design and Architecture, with curatorial assistance by Vanessa Jacob at the Powerhouse Museum, Sydney, October 2021-February 2022. This publication was commissioned and produced as an adjunct to that exhibition."--Colophon.
Publishing details: Powerhouse Publishing, 2021, 160 pages : illustrations (some colour)

Leydin Arthur view full entry

Reference: see Graphic identities : 20th century Australian design / editor, Horacio Silva ; art director, Dominic Hofstede ; texts, Elizabeth Glickfeld. Includes biographies.
Graphic Identities presents the work of eight designers practicing in Australia from the 1930s to 1980s whose stories when taken together tell a compelling narrative of visual culture in this country. The names Douglas Annand, Frances Burke, Dahl Collings, Pieter Huveneers, Arthur Leydin, Alistair Morrison and Shirley de Vocht resonate within their industries, but their designs have impacted all our lives through currency, packaging and postage stamps as well as advertising, publishing and architectural signage. Their work in retail (including Myer, David Jones, Farmers), travel (Qantas, Orient Line, Hayman Island), alcohol (Penfolds, Tooth and Co) and banking (Westpac, Reserve Bank of Australia) have solidified the image of some our most iconic brands. Pioneers of a new Australian aesthetic in open dialogue with international art and design movements, many of the designers in Graphic Identities contributed to the professionalisation of the design sector through industry organisations as well as educational institutions. All played a part in formulating a bold, original, and sophisticated body of work - marking the apotheosis of the analogue era. As an adjunct to the Graphic Identities exhibition at the Powerhouse, Sydney, curated by Senior Curator of Design and Architecture, Keinton Butler, the publication features over 100 reproductions of unique work acquired by the Museum from the estates of the designers from the late-1980s onwards.
Notes "Graphic identities was curated by Keinton Butler, Senior Curator of design and Architecture, with curatorial assistance by Vanessa Jacob at the Powerhouse Museum, Sydney, October 2021-February 2022. This publication was commissioned and produced as an adjunct to that exhibition."--Colophon.
Publishing details: Powerhouse Publishing, 2021, 160 pages : illustrations (some colour)

Morrison Alistair view full entry

Reference: see Graphic identities : 20th century Australian design / editor, Horacio Silva ; art director, Dominic Hofstede ; texts, Elizabeth Glickfeld. Includes biographies.
Graphic Identities presents the work of eight designers practicing in Australia from the 1930s to 1980s whose stories when taken together tell a compelling narrative of visual culture in this country. The names Douglas Annand, Frances Burke, Dahl Collings, Pieter Huveneers, Arthur Leydin, Alistair Morrison and Shirley de Vocht resonate within their industries, but their designs have impacted all our lives through currency, packaging and postage stamps as well as advertising, publishing and architectural signage. Their work in retail (including Myer, David Jones, Farmers), travel (Qantas, Orient Line, Hayman Island), alcohol (Penfolds, Tooth and Co) and banking (Westpac, Reserve Bank of Australia) have solidified the image of some our most iconic brands. Pioneers of a new Australian aesthetic in open dialogue with international art and design movements, many of the designers in Graphic Identities contributed to the professionalisation of the design sector through industry organisations as well as educational institutions. All played a part in formulating a bold, original, and sophisticated body of work - marking the apotheosis of the analogue era. As an adjunct to the Graphic Identities exhibition at the Powerhouse, Sydney, curated by Senior Curator of Design and Architecture, Keinton Butler, the publication features over 100 reproductions of unique work acquired by the Museum from the estates of the designers from the late-1980s onwards.
Notes "Graphic identities was curated by Keinton Butler, Senior Curator of design and Architecture, with curatorial assistance by Vanessa Jacob at the Powerhouse Museum, Sydney, October 2021-February 2022. This publication was commissioned and produced as an adjunct to that exhibition."--Colophon.
Publishing details: Powerhouse Publishing, 2021, 160 pages : illustrations (some colour)

de Vocht Shirleyview full entry

Reference: see Graphic identities : 20th century Australian design / editor, Horacio Silva ; art director, Dominic Hofstede ; texts, Elizabeth Glickfeld. Includes biographies.
Graphic Identities presents the work of eight designers practicing in Australia from the 1930s to 1980s whose stories when taken together tell a compelling narrative of visual culture in this country. The names Douglas Annand, Frances Burke, Dahl Collings, Pieter Huveneers, Arthur Leydin, Alistair Morrison and Shirley de Vocht resonate within their industries, but their designs have impacted all our lives through currency, packaging and postage stamps as well as advertising, publishing and architectural signage. Their work in retail (including Myer, David Jones, Farmers), travel (Qantas, Orient Line, Hayman Island), alcohol (Penfolds, Tooth and Co) and banking (Westpac, Reserve Bank of Australia) have solidified the image of some our most iconic brands. Pioneers of a new Australian aesthetic in open dialogue with international art and design movements, many of the designers in Graphic Identities contributed to the professionalisation of the design sector through industry organisations as well as educational institutions. All played a part in formulating a bold, original, and sophisticated body of work - marking the apotheosis of the analogue era. As an adjunct to the Graphic Identities exhibition at the Powerhouse, Sydney, curated by Senior Curator of Design and Architecture, Keinton Butler, the publication features over 100 reproductions of unique work acquired by the Museum from the estates of the designers from the late-1980s onwards.
Notes "Graphic identities was curated by Keinton Butler, Senior Curator of design and Architecture, with curatorial assistance by Vanessa Jacob at the Powerhouse Museum, Sydney, October 2021-February 2022. This publication was commissioned and produced as an adjunct to that exhibition."--Colophon.
Publishing details: Powerhouse Publishing, 2021, 160 pages : illustrations (some colour)

Walker Murrayview full entry

Reference: Art of Murray Walker, by Sasha Grishin. Includes bibliographical references (pages 165-167) and index.
Publishing details: The Beagle Press, 2022, 180 pages : illustrations (chiefly colour), portraits
Ref: 1000

Mongrel Rapture, the architecture of Ashton Raggatt McDougallview full entry

Reference: Mongrel Rapture, the architecture of Ashton Raggatt McDougall. By Mark Raggatt; Maitiu Ward; Ashton Raggatt McDougall.
"the first major monograph on Ashton Raggatt McDougall, one of the most significant architectural practices in Australia. ARMs architecture draws from a diverse territory of inspiration, including Michelangelo and Robert Venturi, computer programming and biblical verse. It has been celebratedand occasionally execratedby critics and the public alike, yet, despite the works capacity to polarise, the practice has produced some of Australias most significant buildings. These include the National Museum of Australia, Canberra (2001), Melbourne Recital Centre and Melbourne Theatre Company Southbank Theatre (2008), Perth Arena (2012) and the Barak Building at Swanston Square (2015), which puts the portrait of Wurundjeri Elder William Barak at the northern tip of Melbournes civic axis." (publisher's blurb)

Publishing details: Uro Publications, 2015. First Edition.
1616 pages, colour illustrations.
Ref: 1000

Clutterbuck Bobview full entry

Reference: see Tessier & Sarrou et Associés auction, Paris, 18 Oct - 13:00 (CEST), lot 571, CLUTTERBUCK Bob. Breadline Posters (Australia). Fight for an independent and nuclear free pacific. Circa 1980. Silk-screened poster. Breadline Posters ph 383 3087. Supported by CRAC 5413141. Folded, good condition: traces of moisture along the left border. 76 x 51 cm

Breadline Posters (Australia)view full entry

Reference: see Tessier & Sarrou et Associés auction, Paris, 18 Oct - 13:00 (CEST), lot 571, CLUTTERBUCK Bob. Breadline Posters (Australia). Fight for an independent and nuclear free pacific. Circa 1980. Silk-screened poster. Breadline Posters ph 383 3087. Supported by CRAC 5413141. Folded, good condition: traces of moisture along the left border. 76 x 51 cm

Armstrong Barry Wview full entry

Reference: see Hansons Auctioneers and Valuers, UK, 19 Oct, 2022, lot 270: Barry W. Armstrong (20th Century). A collection of watercolour designs for Royal Grafton after May Gibbs (1877-1969), the Australian children's author & illustrator best known for her Gumnut Babies. Comprising 17 sheets of designs bearing artist's stamps, various sizes, largest measuring 36cm by 27cm, housed in a portfolio folder

Flood Patricia Vaughanview full entry

Reference: see Canberra Art & Antiques Auction, 7 Wiluna St., Fyshwick ACT, timed auction closing 26 October, 2022:
Paintings by Pat Vaughan Flood.
Pat Vaughan Flood (1919-2017) was born and raised in Melbourne where she met her first husband, Dr Lowen Hardy, with whom she had six children before his sudden death in 1953. She moved with her family to Canberra following her second marriage to Colonel William Flood in the early 1960s where she began painting and exhibiting, undertaking classes with artist Tom Gleghorn (born 1925) at the Canberra School of Art.
Art historian and curator, Felicity St John Moore, describes her work as being influenced by childhood memories, international journeys and a love of music – each having a profound impact on her life. The artist, coming to art relatively late in life, found her practice to be an outlet - it was both energising and invigorating.
‘Painting gave her a space - a world beyond the everyday world, in which she could divine her own feelings and intuitions. And within this space, the actual process of painting - of reaching for colour, playing around with water and making marks on the surface – triggered memories of the colours, patterns and rituals of her environment during childhood and adolescence. (Felicity St John Moore, The Artist and Her Work, 1991).
During her 33 years as a practicing artist, themes Vaughan Flood continually returned to were light, water, mountains and music. Her work is characteristically spontaneous, punctuated with vivid colour and personal symbolism. Many of her works have an inherent intensity to them however are simultaneously possess a meditative, almost mystical quality. Despite undertaking part time studies, the artist relied on her innate artistic resources to inform her practice.
‘Hers is an art that does not polemically reject the often superficial debates of much current art-speak, but simply displaces them with the expression of deeply felt experience…it finds its occasions in the world, reveals an interiority enriched by the interactions of mind and matter as they complement each other.’ (Artist Bernard Hardy, The Art of Pat Vaughan Flood, 1996)
Pat Vaughan Flood’s work has been exhibited widely in both solo and group shows – locally with gallerist Nancy Sever at the Manuka Gallery and with the late Joy Warren at Solander Gallery. Her work was shown at Holdworth Street Galleries in Sydney and also Hawthorn City Art Gallery in Melbourne. Pat Vaughan Flood’s paintings was chosen by Dame Barbara Hepworth to hang in the prestigious Penwith Art Society exhibition in St Ives Cornwall and a solo show of her work was held at the Sheraton Gallery in Kathmandu in 1985. Her work is represented in a number of Australian university collections including the Australian National University and Flinders University. Many of her best paintings are in the private collections of diplomats and similar international itinerants, who respond to her work’s cultural nomadism and freedom of spirit.
Pat Vaughan Flood’s work has been exhibited widely in both solo and group shows – locally with gallerist Nancy Sever at the Manuka Gallery and with the late Joy Warren at Solander Gallery. Her work was shown at Holdworth Street Galleries in Sydney and also Hawthorn City Art Gallery in Melbourne. Pat Vaughan Flood’s paintings was chosen by Dame Barbara Hepworth to hang in the prestigious Penwith Art Society exhibition in St Ives Cornwall and a solo show of her work was held at the Sheraton Gallery in Kathmandu in 1985. Her work is represented in a number of Australian university collections including the Australian National University and Flinders University. Many of her best paintings are in the private collections of diplomats and similar international itinerants, who respond to her work’s cultural nomadism and freedom of spirit.

Montefiore Eliezer Lview full entry

Reference: see ‘A Jewish Philanthropist in Colonial Australia: Eliezer Levi Montefiore’s Papers in the Autograph Collection of the State of Victoria’, Australian Jewish Historical Society Journal, vol. XX, part 3, 2011, pp.349–94.
Publishing details: [Filed in Art & Artists’ folder]

Coleing Tonyview full entry

Reference: Tony Coleing: A Selection of Graphics, Charles Nodrum Gallery, 18 October - 3 December, 2022.
In 1988 Tony Coleing held a large exhibition of prints titled 'Looking - Prints by Tony Coleing' at the Museum of Contemporary Art, Brisbane. Master printer John Loane wrote a short introduction, from which we quote here:

"The history of collaborative printmaking in Australia is relatively short. Although the practice of printing is increasing now, the role of the printer in the production of original prints is little understood. The printer's role is to provide the technical expertise required for print production, leaving the artist free to create the image using the means available in the particular medium chosen. It is often the printer's role to familiarise the artist with both means and media and with the limitations and/or possibilities of these various elements. In the best instances of printmaking collaboration this process challenges and rewards the efforts of both participants.

When Tony Coleing began working with us at the Victorian Print Workshop in 1982 he had been making prints for some years whenever the medium suited his purposes. He had done etching, relief printing and some lithography, at times working on his own and at others with a printer. While experience in making prints is not a prerequisite for artist-printer collaboration, it can help speed the process. So it was with Coleing, and fortunately so, because the moment he enters the print room, images are laid onto plates, stones and whatever else has been done and the hand follows rapidly....

This current exhibition, assembling as it does Coleing's printed work in its entirety, provides an excellent overview of what one artist has been able to accomplish - selecting and employing to his own purposes the great range of material and techniques available to an artist working in the print media."

- Exert from John Loane & Adrien, Looking - Prints by Tony Coleing, MOCA, Brisbane, 1988, p. i.

Artist Adrien Hall also wrote for the Looking exhibition publication - he writes:

"Particular concern for the future, and extreme nausea for the present of the Pacific areas has always been felt since this young artist's Romance with the romance of Gauguin, "Tahiti was Shangri-La" and the romance was consummated over a series of visits; first to Tahiti in the way back from the Venice Biennale in 1980. Prior to this was the very first visit to New York also a watershed. But after Tahiti came other trips: to Fiji, and most recently the Solomon Islands in 1986. Several series of works were instigated over these years, etchings such as "TAHITI - Perle du Pacfique 1984," whose use of aquatint softly foiled the anger felt at current French arrogances. While "Civilization et Syphilization (1984 Lithograph) a knowing vignette, evokes the rude lithograph and engravings contemporary to those times of early Colonization. Nonetheless, neither old time nostalgia nor the thoroughly enjoyed delicate rendering, can mask the deeply felt indignation over colonist crimes against humanity. Nor over the testing of weaponry, irresponsible transport and disposal of Nuclear fuels and materials with total disregard to the communities there. Nor hide the concern felt against the cynical callousness dealt actual victims of such cruel stupidity, and the other more known 'civilised' barbarities."

Publishing details: Charles Nodrum Gallery, 267 Church Street, Richmond
Melbourne, 2022
Ref: 1000

Hall Adrien view full entry

Reference: see catalogue notes, Tony Coleing: A Selection of Graphics, Charles Nodrum Gallery, 18 October - 3 December, 2022.
In 1988 Tony Coleing held a large exhibition of prints titled 'Looking - Prints by Tony Coleing' at the Museum of Contemporary Art, Brisbane. Master printer John Loane wrote a short introduction, from which we quote here:

"The history of collaborative printmaking in Australia is relatively short. Although the practice of printing is increasing now, the role of the printer in the production of original prints is little understood. The printer's role is to provide the technical expertise required for print production, leaving the artist free to create the image using the means available in the particular medium chosen. It is often the printer's role to familiarise the artist with both means and media and with the limitations and/or possibilities of these various elements. In the best instances of printmaking collaboration this process challenges and rewards the efforts of both participants.

When Tony Coleing began working with us at the Victorian Print Workshop in 1982 he had been making prints for some years whenever the medium suited his purposes. He had done etching, relief printing and some lithography, at times working on his own and at others with a printer. While experience in making prints is not a prerequisite for artist-printer collaboration, it can help speed the process. So it was with Coleing, and fortunately so, because the moment he enters the print room, images are laid onto plates, stones and whatever else has been done and the hand follows rapidly....

This current exhibition, assembling as it does Coleing's printed work in its entirety, provides an excellent overview of what one artist has been able to accomplish - selecting and employing to his own purposes the great range of material and techniques available to an artist working in the print media."

- Exert from John Loane & Adrien, Looking - Prints by Tony Coleing, MOCA, Brisbane, 1988, p. i.

Artist Adrien Hall also wrote for the Looking exhibition publication - he writes:

"Particular concern for the future, and extreme nausea for the present of the Pacific areas has always been felt since this young artist's Romance with the romance of Gauguin, "Tahiti was Shangri-La" and the romance was consummated over a series of visits; first to Tahiti in the way back from the Venice Biennale in 1980. Prior to this was the very first visit to New York also a watershed. But after Tahiti came other trips: to Fiji, and most recently the Solomon Islands in 1986. Several series of works were instigated over these years, etchings such as "TAHITI - Perle du Pacfique 1984," whose use of aquatint softly foiled the anger felt at current French arrogances. While "Civilization et Syphilization (1984 Lithograph) a knowing vignette, evokes the rude lithograph and engravings contemporary to those times of early Colonization. Nonetheless, neither old time nostalgia nor the thoroughly enjoyed delicate rendering, can mask the deeply felt indignation over colonist crimes against humanity. Nor over the testing of weaponry, irresponsible transport and disposal of Nuclear fuels and materials with total disregard to the communities there. Nor hide the concern felt against the cynical callousness dealt actual victims of such cruel stupidity, and the other more known 'civilised' barbarities."

Publishing details: Charles Nodrum Gallery, 267 Church Street, Richmond
Melbourne, 2022

Tiernan Helen Sview full entry

Reference: Storied Country - Hel S. Tiernan, catalogue for exhibition 22 Oct - 18 Nov, 2022 at Lauraine Diggens Fine Art, with 18 illustrations, essay by Dr Marie Geissler
Publishing details: Lauraine Diggens Fine Art, 2022, 8 page folding card.
Ref: 145

stoppimg timeview full entry

Reference: stoppimg time - MATERIAL PRINTS FROM 3000 BCE TO NOW, by Ross Woodrow, Catalogue of an exhibition at Gympie Art Gallery 25 September - 16 November 2019 and later at Newcastle, Logan and Grafton Galleries. [To be indexed]

Publishing details: Newcastle: Newcastle Art Gallery, 2019, 76 pages, illustrations, some colour. Cream wrappers, blind lettering.
Ref: 1000

printsview full entry

Reference: see stoppimg time - MATERIAL PRINTS FROM 3000 BCE TO NOW, by Ross Woodrow, Catalogue of an exhibition at Gympie Art Gallery 25 September - 16 November 2019 and later at Newcastle, Logan and Grafton Galleries.

Publishing details: Newcastle: Newcastle Art Gallery, 2019, 76 pages, illustrations, some colour. Cream wrappers, blind lettering.

McCulloch Allan Riverstone view full entry

Reference: The Naturalist - The remarkable life of Allan Riverstone McCulloch, by Brendan Atkins.
‘An artist, a pioneering biologist, and someone who helped make our cherished Australian Museum one of the greatest in the world. At last, his enthralling story is being told.’ Robyn Williams.
For lovers of natural history, this is the first book to explore Allan Riverstone McCulloch’s scientific genius, artistic talents and his crucial role in the development of the Australian Museum.
Allan Riverstone McCulloch (1885–1925) was a leading scientist and talented illustrator, the Australian Museum’s most senior curator and its star exhibition designer. So why has history ignored his many contributions?
A free spirit and an expert on Australia’s fish species, McCulloch was happiest collecting specimens on field trips to the Great Barrier Reef, Lord Howe Island and beyond. He escaped office politics at the museum to accompany cinematographer Frank Hurley on an expedition to tropical Papua in 1922, but controversy erupted when officials accused them of stealing sacred artefacts. The trip also left McCulloch with dysentery and malaria, and his mental health declined.
In The Naturalist, Brendan Atkins explores McCulloch’s scientific genius and artistic talents, and his crucial role in the development of the Australian Museum. It’s a revealing and unflinching look at the remarkable life of a brilliant yet troubled scientist.
Publishing details: Newsouth, 2022, Paperback, 208pp
Ref: 1000

Olley Margaretview full entry

Reference: THE UNSEEN MONOTYPES - PARIS, 1952, Margaret Olley

Publishing details: Brisbane: Philip Bacon Galleries, 2020.
Exhibition catalogue. Price list laid in 12 pages, colour illustrations. Illustrated saddle-stapled wrappers.
Ref: 1000

Woodhouse Frederick 1820-1909view full entry

Reference: see 19th Australiana Virtual Show and Tell Report SEPTEMBER/OCTOBER 2022:
Equestrian Oil Painting. Artist Frederick Woodhouse (1820-1909) signed lower left Fred W. Woodhouse 1858. It depicts Cardinal Wiseman with rider William Rutland and owner Benjamin Warby Junior.
Size: 53 cm x 67 cm (including frame)
The Warby family owned two NSW properties near Campbelltown, Mingay and Taminick Plains. Benjamin Warby Jnr (1805-1880) also owned the horse, Antonelli, a three year-old that ran fourth in the first Melbourne Cup in 1861.
The horse was named after Nicholas Wiseman (1802-1865) Archbishop of Westminster (installed 1850 term ended 1865).
Publishing details: All reports will be on line: https://www.australiana.org.au/news

Leviny Ernest jewellerview full entry

Reference: see 19th Australiana Virtual Show and Tell Report SEPTEMBER/OCTOBER 2022:
Early 20th century, copper and enamel panel 25 cm x 26 cm, book end 14 cm x 10 cm
Believed to be made by one of the daughters of Ernest Leviny, gold and silversmith who set up business as a watchmaker and jeweller in Market Square in Castlemaine Victoria.
Leviny later purchased a property which he named Buda after Budapest in 1863. He had 10 children, including 6 daughters who were all talented in the arts. Three of the daughters Kate, Hilda & Dorothy exhibited items at the first Australian Exhibition of Women's Work in 1907.
Mary and Kate left a broader civic legacy through their involvement in establishing the
Castlemaine Art Gallery in 1913
These objects are thought to have been made by Hilda. They are special in that they are Australian bush scenes. Most of their works were European or Asian subjects. Hilda lived
elsewhere for 30 years and so was less influenced by the European style at Buda. Hilda was responsible for selling Buda to the Castlemaine Art Gallery in 1970.
Publishing details: All reports will be on line: https://www.australiana.org.au/news

Leviny Kate, Hilda & Dorothy, daughters of Ernest Leviny jewellerview full entry

Reference: see 19th Australiana Virtual Show and Tell Report SEPTEMBER/OCTOBER 2022:
Two framed Art Nouveau Paintings. Early 20th century, copper and enamel panel 25 cm x 26 cm, book end 14 cm x 10 cm
Believed to be made by one of the daughters of Ernest Leviny, gold and silversmith who set up business as a watchmaker and jeweller in Market Square in Castlemaine Victoria.
Leviny later purchased a property which he named Buda after Budapest in 1863. He had 10 children, including 6 daughters who were all talented in the arts. Three of the daughters Kate, Hilda & Dorothy exhibited items at the first Australian Exhibition of Women's Work in 1907.
Mary and Kate left a broader civic legacy through their involvement in establishing the
Castlemaine Art Gallery in 1913
These objects are thought to have been made by Hilda. They are special in that they are Australian bush scenes. Most of their works were European or Asian subjects. Hilda lived
elsewhere for 30 years and so was less influenced by the European style at Buda. Hilda was responsible for selling Buda to the Castlemaine Art Gallery in 1970.
Publishing details: All reports will be on line: https://www.australiana.org.au/news

Howitt W carverview full entry

Reference: see 19th Australiana Virtual Show and Tell Report SEPTEMBER/OCTOBER 2022:
Carved JarrahSocle, Carved Inscription: ‘Jarrah. Western Australian. Timber Worked by W. Howitt 1905’ Height 12 cm, diameter at the base 33.5 cm and 21 cm at the top. Weight 6.5 Kg
A socle is “a low, plain part forming a base for a column, pedestal, or the like; plinth.”
The owner states the item could be in two pieces as the base below the carving a different coloured wood. There is a round hole in the centre that goes right through to the red felt on the base (maybe to prevent wood splitting?).
It may be used to display articles or purely a means of displaying Jarrah as a productive WA timber resource. This would be very much in keeping Howitt’s role with the WA government and his own aspirations. The wording of the inscription and its placement on top where it is readily viewed could support this theory.
Dr Dorothy Erickson wrote a detailed article on Howitt in Australiana, Nov 2011, vol 34, no 5. In it she mentions Howitt carving for the 1908 Franco British Exhibition with the London Standard newspaper referring to his Jarrah carvings.
He was a regular contributor to colonial and international exhibitions and I am wondering if this might be an example that remained in England. The WA State Library and the Geraldton Library have a copy of the publication for the 1908 Exhibition; the owner intends to follow up with both libraries..
Publishing details: All reports will be on line: https://www.australiana.org.au/news

Blogg John Kendrick view full entry

Reference: see 19th Australiana Virtual Show and Tell Report SEPTEMBER/OCTOBER 2022:
Carved box by John Kendrick Blogg. Box carved out of a solid piece of timber, likely red gum, by John Kendrick Blogg c 1917. Latin inscription by Virgil which roughly translates as
“a box for keeping things which, in later life, may have important memories”. Size: 11 cm x 27 cm x 36 cm
An article on a presentation casket with carvings by John Kendrick Blogg appeared in Australiana May 2022 vol 44 no 2.
Blogg, a Canadian by birth, settled in Victoria in 1877 and is best known for recognizing the decorative value of Australia’s native flora. He often presented pieces to people he regarded asimportantorsignificant(HisMajestyAlbertI,KingoftheBelgians. Mostofhisworkwas made for his family, local churches and war memorials.
Publishing details: All reports will be on line: https://www.australiana.org.au/news

Crocker Alice Mary née Humphreys (1887-1974)
view full entry

Reference: see 19th Australiana Virtual Show and Tell Report SEPTEMBER/OCTOBER 2022:
Pottery By L.J. Harvey School Student. Six pieces of pottery by Alice Mary Crocker née Humphreys (1887-1974)
Alice Crocker took pottery lessons with L.J. Harvey at the Central Technical School, Brisbane, in the late 1920s-early 1930s.
These pieces are now owned by her grandsons. She was one of many artistic ladies (and the odd gent) who generated the “Harvey School” of late Arts and Crafts design in Queensland.
The style is old-fashioned for its time, but demonstrates Harvey’s sequence of lessons in hand-built ceramics. The rich glazes are “roughly” applied to suggest rustic craftsman manufacture - the central conceit of Arts & Craft aesthetic.
Publishing details: All reports will be on line: https://www.australiana.org.au/news

Humphreys Alice Mary later Crocker (1887-1974)
view full entry

Reference: see 19th Australiana Virtual Show and Tell Report SEPTEMBER/OCTOBER 2022:
Pottery By L.J. Harvey School Student. Six pieces of pottery by Alice Mary Crocker née Humphreys (1887-1974)
Alice Crocker took pottery lessons with L.J. Harvey at the Central Technical School, Brisbane, in the late 1920s-early 1930s.
These pieces are now owned by her grandsons. She was one of many artistic ladies (and the odd gent) who generated the “Harvey School” of late Arts and Crafts design in Queensland.
The style is old-fashioned for its time, but demonstrates Harvey’s sequence of lessons in hand-built ceramics. The rich glazes are “roughly” applied to suggest rustic craftsman manufacture - the central conceit of Arts & Craft aesthetic.
Publishing details: All reports will be on line: https://www.australiana.org.au/news

Friedeberger Klaus set design 1948view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Schonback Fred mural design 1949view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Samuels Jeffrey graduated 1978view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Barker George graduated 1972view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

McMahon Marie NAS student and teacherview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Mackie Graham graduated 1973view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Cowdroy Victoria student c1926view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Hetherington Norman NAS student 1938-39 1946-49view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Tabke Alexa NAS student 1950sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Lahm Hardtmuth NAS student 1930-3view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Howlett Leonora graduated 1961view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Buckley Saxon student 2016-18view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Rigby Alan student 1922view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Gould John NAS student c1956view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

de Vocht Shirley NAS student 1944-6view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Martin Shirley later Shirley de Vocht NAS student 1944-6view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Edwards Isabella NAS student 2014-18view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Clearly Diane NAS student 1961-5view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Butterworth Thelma NAS student early 1940sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Tuckson Margaret nee Bissett NAS student early 1940s and 1960sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Bissett Margaret later Tuckson NAS student early 1940s and 1960sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Foster Una NAS student 1934view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Huntley Harold NAS teacher 1945-51, 1952-1970view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

McKenzie Edna NAS student graduated 1952view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Hughes Norma NAS student graduated 1947view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Carswell Robert NAS teacher 1925-37view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Claux Eugene NAS student 1940sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Pata Daniel NAS student and teacher 1970s-2020sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Matkevich Len NAS student and teacher 1960s-1970sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Coutts Maryanne NAS Head of Drawing 2010-2020sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Backen Earle NAS teacher 1960-74view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Nimmo Lorna NAS student and teacher 1930s-1952view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

McKay Kevin NAS student 2005-12view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Clayton Janelle NAS student graduated 1957view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Brown Ediith Bell NAS student c1894-1897 and teacher 1922-6view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Goreley May NAS student 1930sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Edkins Roslyn NAS student 1930sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Collis Tim NAS student late 1940sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Xenodohos John NAS student late 1940s-1950sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Ackland Ingrid NAS student 1930sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Gilmartin Marie NAS student?view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Liibus Vaikeview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Griffin Caroleview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Butler Alexander NAS student 1970sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Bailey Adye NAS student 1930sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Fink Margaret NAS student 1960-2view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Spratt Margaret NAS student anhd teacher 1950s-70sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Gunter Bob NAS teacher 1937-60sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Cape Sophie NAS student 2007-9view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Griffin Carole NAS student 1964 and teacher 1980s-2000sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Fitzpatrick Joseph NAS student 1947-9view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Taylor Anita NAS Director 2010-13view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Cape Anne NAS student 1960s-70sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Thurgate Noel NAS student and teacher 1980s-2000sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

O’Donnell Terry NAS student and teacher 1960s-1970sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Cooper Simon NAS Head of Printmaking 2001-view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Little Stephen NAS Head of Painting 2010-view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Stratton Brian NAS student and teacher 1950s-60sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Macdonald Beth NAS student 1930sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Thancoupie Gloria Fletcher NAS student 1960sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Fletcher Gloria - Thancoupie NAS student 1960sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Samuels Bill view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Kleem Geoff NAS Head of Photomedia 2013-view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Briscoe Kate NAS teacher 1960s-75view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Rice Leslie NAS student and teacher 2002 - presentview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

McKenzie Carolyn NAS Head of Printmaking 2015-21view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Cross Dean NAS teacher 2020-2view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Esson Merran NAS Head of Ceramics 2010-16view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Bostock Euphemia NAS student 1970s Fellow 2022view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Schwarz George NAS teacher 1970sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Dickens Karla NAS student 1990sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Littlejohn Vivienne NAS student 1970s teacher c1970s-1990sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Eadie Robert NAS student 1950s Head of Drawing and Painting 1985 view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Varga Justine NAS student 2002-6view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Jumaadi NAS student 2000sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Chan Kenneth view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Tava Liina student c1959-60view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Norton Frank NAS student 1930s teacher c1940sview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Banner Marguerite student 1929-33view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Foley Fiona student 1983view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Cowdroy Victoria student 1922-9view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Hogan Ron student 1948-1950 view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Waite Allan student 1947-50view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Eich Marion student 1924-9view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Courtenay M textile designview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Stephens Delphine student 1930s first to gain diploma in paintingview full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Shillito Phyllis teacher 1925-60, Head of Design & Craft view full entry

Reference: work by this artist included in the exhibition ‘Captivate - The National Art School and Darlinghurst Gaol,’ 23 September – 30 October 2022, NAS Gallery, Rayner Hoff Project Space, The Drawing Gallery. Included the work of former NAS students and teachers. The book Captivate was published in conjunction with the exhibition and includes information on former teachers abnd students at the NAS. But no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers. More information may be found in NAS archives.
Publishing details: NAS, 2022 [no catalogue was published for the section of the exhibition which included the work of former NAS students and teachers.]

Bowden-Smith E Cview full entry

Reference: see Bishop & Miller Auctioneers Ltd, UK. 10.11,22, lot 66: Late 19th Century diary and sketch book by E.C. Bowden-Smith on her voyage to Australia in 1896/97, containing illustrations of ships, references to other voyages, and various flora and fauna seen on the voyages.

Emily Cecilia Bowden-Smith (nee Sandeman) was the wife of the distinguished Naval Officer Vice-Admiral Nathaniel Bowden-Smith who was promoted to Commander-in-Chief of the Australian Station 1892-95. She sailed on the clipper ship "Torrens" to accompany her husband when he was appointed a Knight Commander of the Order of the Bath. The ceremony took place on the 22nd of June 1897 on the occasion of Queen Victoria's Diamond Jubilee.
The Torres was the flagship of the Elder Line, being the fastest and most luxurious on the London to Port Adelaide run, taking only first and second class passengers and once completed the journey in 65 days.

Simonetti Archilleview full entry

Reference: Australiana Society Newsletter article: Colonialism and Colonial Sculpture -
The Marble Bust of Commodore J.G. Goodenough and the Art Gallery of New South Wales’ [by Archille Simonetti]
Publishing details: November 1989

Goodenough Mrsview full entry

Reference: Australiana Society Newsletter article: Colonialism and Colonial Sculpture -
The Marble Bust of Commodore J.G. Goodenough and the Art Gallery of New South Wales’ [by Archille Simonetti]. Mrs Goodenough produced a version.
Publishing details: November 1989

King Philip Gidleyview full entry

Reference: see Hordern House catalogye for Sydney Rare Book Fair 2022, ‘Original drawing of River and Trees’ 185 x 145 mm, c1800, illustrated in catalogue.

Winteer Alfred photographerview full entry

Reference: see Hordern House catalogye for Sydney Rare Book Fair 2022, carte de Visite of Anne Lindsay, illustrated and with biographical information.

Spilt Imageview full entry

Reference: Spilt Image. essays by Lachlan Arnott, John Julian, Ben Lewin and Brian Stevenson, some accompanied by creative writing; photobook from 60s. And yes – the title is ‘Spilt’, not ‘Split’.
Publishing details: Melbourne University Union Council, 1969. Quarto, pictorial stiff wrappers, pp. [104]; b/w photo
“Most of the photographs were printed on Agfa Bravura paper and taken on Tri X developed in Chicken Soup.”

Ref: 1000

Arnott Lachlan view full entry

Reference: see Spilt Image. essays by Lachlan Arnott, John Julian, Ben Lewin and Brian Stevenson, some accompanied by creative writing; photobook from 60s. And yes – the title is ‘Spilt’, not ‘Split’.
Publishing details: Melbourne University Union Council, 1969. Quarto, pictorial stiff wrappers, pp. [104]; b/w photo
“Most of the photographs were printed on Agfa Bravura paper and taken on Tri X developed in Chicken Soup.”

Julian John view full entry

Reference: see Spilt Image. essays by Lachlan Arnott, John Julian, Ben Lewin and Brian Stevenson, some accompanied by creative writing; photobook from 60s. And yes – the title is ‘Spilt’, not ‘Split’.
Publishing details: Melbourne University Union Council, 1969. Quarto, pictorial stiff wrappers, pp. [104]; b/w photo
“Most of the photographs were printed on Agfa Bravura paper and taken on Tri X developed in Chicken Soup.”

Lewin Ben view full entry

Reference: see Spilt Image. essays by Lachlan Arnott, John Julian, Ben Lewin and Brian Stevenson, some accompanied by creative writing; photobook from 60s. And yes – the title is ‘Spilt’, not ‘Split’.
Publishing details: Melbourne University Union Council, 1969. Quarto, pictorial stiff wrappers, pp. [104]; b/w photo
“Most of the photographs were printed on Agfa Bravura paper and taken on Tri X developed in Chicken Soup.”

Stevenson Brian view full entry

Reference: see Spilt Image. essays by Lachlan Arnott, John Julian, Ben Lewin and Brian Stevenson, some accompanied by creative writing; photobook from 60s. And yes – the title is ‘Spilt’, not ‘Split’.
Publishing details: Melbourne University Union Council, 1969. Quarto, pictorial stiff wrappers, pp. [104]; b/w photo
“Most of the photographs were printed on Agfa Bravura paper and taken on Tri X developed in Chicken Soup.”

Ford Sueview full entry

Reference: Somewhere in France : 1917, containing 34 cards illustrated with photographs, text verso. Limited to 500 signed copies.
‘A post-humous collaboration by Sue Ford and her grand-father Jim Keating. Photographs by Sue Ford, manuscripts by James Edward (Jim) Keating (1888-1972). 34 offset prints published in a limited edition of 500 copies signed and numbered by the artist. Published by the Clemenger Trust on the occasion of the third Clemenger Contemporary Art Award, 3 April-9 May 1999, Museum of Modern Art at Heide in association with the National Gallery of Victoria’ – colophon.

Publishing details: Melbourne : Clemenger Trust, 1999. Illustrated card box, 180 x 100 mm
Ref: 1000

Lindsay Normanview full entry

Reference: Oblation, illustrated by Norman Lindsay. Illustrated verse, some first published in The Bulletin, while other poems are published here for the first time. ‘Of this edition 650 copies have been printed on toned paper, numbered, price 3s. 6d.; 99
Publishing details: Sydney: the authors, 1902. Folio, decorated wrappers; 34 pp.,
Ref: 1000

Thompson Douglasview full entry

Reference: Photographs by Douglas Thompson as exhibited at Thorburn Galleries Sydney, June 4th-23rd 1974. All b/w photographs of female nudes
Publishing details: Cammeray, N.S.W. : House of Darrington, 1974. Quarto publisher’s stiff pictorial wrappers, , 101 pp,
Ref: 1000

Australian fashion designview full entry

Reference: Australian fashion design, by Elina Mackay. A glamorous look at contemporary designers creating garments for a modern, stylish Australia. Trent Nathan, Jenny Kee, Perri Cutten, Vivian Chan Shaw, Michele Hyland and others feature in this glorious celebration of Australian fashion in the eighties.
‘We demand colour. Australian designers in textile, clothing, accessories, hair and jewellery have given us the colourful, confident, humorous and vibrant guise that is distinctly Australian.’ – The foreword
Publishing details: Sydney : Kevin Weldon, 1985. Folio, illustrated wrappers pp. 288, extensively illustrated with fashion photographs,

Ref: 1000

Lister Gladysview full entry

Reference: Little Round House. Decorated by Pizie O’Harris.
Publishing details: Sydney : New Century Prett, 1949. Reprint. Quarto, papered boards in dustjacket (a couple of small tears), pp. 115, offsetting to endpapers, colour frontispiece, black and white illustrations.
Ref: 1000

Stokes H medallistview full entry

Reference: see Haynault ventes publiques auction, Belgium, 14.11.22, lot 55, AUSTRALIA Melbourne International Exhibition  Medal, silver, by H. Stokes, 92.1g, 51mm, 1880, diademed and veiled head of Queen Victoria to left, rev. laurel wreath, VITAM EXCOLVERE PER ARTES, edge inscribed HIS EXCELL: H.I.W. FRERE-ORBAN FOR SERVICES; Wyon, International Exhibition Sydney 1879, in bronze, awarded to C. MAHILLON - FIRST SPECIAL AWARD  PROVENANCE: Antwerp Collection. Elsen, sale 112, lot 2093.  Walthère Frère-Orban was Prime Minister twice from 1868 to 1870 and from 1878 to 1884. C. Mahillon could be the Belgian manufacturer of musical instruments in Brussels. The first one, cleaned with remains of iridescent patina, very nice to superb; the second one, knocks and hairlines, superb. (2)

Artists at Homeview full entry

Reference: Artists at Home: Inside the Creative Spaces of 32 Female Artists in Australia. By Karina Dias Pires. [To be indexed]
This richly layered compilation invites the reader into the creative spaces of 32 female artists, offering an intimate look behind the scenes and the chance to meet each artist on home ground. Featuring profiles on their practice and process, along with a candid Q&A section, they engage in an honest discussion about womanhood, career, gender inequality and the constant juggle of balancing a contemporary practice with everyday life.  Artists at Home is an authentic portrayal of the intersection of work and life, exploring both the art and the remarkable women behind it, from emerging and established artists such as Yvette Coppersmith, Rhoda Tjitayi, Tamara Dean, Lindy Lee and Patricia Piccinini. Generously illustrated with previously unpublished images by author/photographer Karina Dias Pires and over 150 artworks, this collection celebrates the voices of female artists in Australia.
Karina Dias Pires is a Brazilian-born Australian writer, photographer and creative director. She began her career as a copyrighter in Belo Horizonte in 1995. Since then she has worked for advertising agencies, magazines and as a freelancer in São Paolo and London before landing in Sydney in 2005. In addition to her writing and image making, Karina is also the creative director of House of Six, a textile business creating handwoven homewares. Artists at Home is her first book, and she is both author and photographer.
This richly layered compilation invites the reader into the creative spaces of 32 female artists, offering an intimate look behind the scenes and the chance to meet each artist on home ground. Featuring profiles on their practice and process, along with a candid Q&A section, they engage in an honest discussion about womanhood, career, gender inequality and the constant juggle of balancing a contemporary practice with everyday life.  Artists at Home is an authentic portrayal of the intersection of work and life, exploring both the art and the remarkable women behind it, from emerging and established artists such as Yvette Coppersmith, Rhoda Tjitayi, Tamara Dean, Lindy Lee and Patricia Piccinini. Generously illustrated with previously unpublished images by author/photographer Karina Dias Pires and over 150 artworks, this collection celebrates the voices of female artists in Australia.
Publishing details: Thames & Hudson Australia Pty, Limited,. 2022 - 272 pages
Ref: 1009

Whitehead Isaacview full entry

Reference: see Australian Book Auctions, lot 38:
WHITEHEAD, Isaac (attributed). CROSSING THE BLUE MOUNTAINS (titled on the stretcher and the frame) Oil on canvas, 855 x 1130 mm, in original gilt frame. A little old scuffing to the edges where the canvas meets the frame, otherwise in very good state. [Melbourne, 1860s-1870s]
A fine painting in the historical and topographical genre celebrating the history and extraordinarily rapid development of the Australian colonies that had a particular vogue in Australia in the decades following the gold rush. The almost triumphant spirit of those years felt the need of an epic past, a need that was satisfied in part by the historical genre paintings supplied by colonial artists throughout the 1860s and 1870s and in literature by historical novelists such as Marcus Clarke (lot 81) and Charles de Boos (lot 82).
The successful construction of the road across the Blue Mountains by William Cox in 1814-1815, following in the wake of Blaxland, Wentworth, and Lawson, was arguably the greatest work of civil engineering undertaken in the first fifty years of European settlement and a particularly apt subject for epic historical painting. Isaac Whitehead was a prolific painter of mainly landscape views who, although based in Melbourne, exhibited widely in Victoria, New Zealand, and New South Wales, and did so with great public and critical success. His artistic output in the two decades he spent in Australia and in New Zealand (as a traveller) before his death in 1881 was prodigious, given his parallel career as a highly regarded art and mirror framer. His high reputation as an artist was forgotten in the 1890s, when the painters of the Heidelberg School became the focus of critical attention. His paintings are represented in major Australian collections. See further the long article on him in Joan Kerr (ed.) Dictionary of Australian Artists... to 1870.
This item requires specialist packing, contact us for details of suggested carriers.
Estimate $12,000/18,000

Gill S Tview full entry

Reference: GILL, Samuel Thomas. PART 1, PRICE 10S. 6D. SKETCHES OF THE VICTORIA GOLD DIGGINGS AND DIGGERS AS THEY ARE. BY S.T.G. The London edition of Gill’s first substantial goldfields view book published in Melbourne in 1852. The plates in this London edition are much larger than the original Melbourne plates and are printed as tinted lithographs on a cream ground. Only this first part was published in London. Bowden, p. 123; Ferguson, 9920b; Wantrup, 245.

Publishing details: London, H.H. Collins & Co. and Piper Brothers & Co., 1853. [wrapper title]. Quarto, 24 tinted lithographed plates, later half morocco and marbled boards, retaining the original dark cream lithographed titling-wrapper, decorated with vignettes of goldfields life, with advertisements on the yellow verso of the front wrapper and on the dark cream verso of the back wrapper;
Ref: 1000

Ham Thomasview full entry

Reference: HAM, Thomas. THE ILLUSTRATED AUSTRALIAN MAGAZINE. Four parts in three, octavo, with nine lithographed illustrations and maps (the two maps on a single leaf, with outline colouring), including a large folding View from YouangHill, North Pyrenees, in original printed pictorial wrappers (lacking one rear wrapper), housed in later folding cloth book box with leather spine label. Notable for its illustrations, many of which are by Ham. See Ferguson, 5398 (part). [From see Australian Book Auctions, lot 50]
Publishing details: Melbourne, Thomas Ham, 1851. Comprising the issues for the original Volume III, July & August, September, and October 1851.
Ref: 1000

Harding Nicholasview full entry

Reference: Obiotuary, Sydney Morning Herald, 8.11.2022, p30. By John McDonald
Ref: 145

Mitchell David Scottview full entry

Reference: The Life and Times of David Scott Mitchell, by Eileen Chanin. Biography of Australia's greatest book collector, David Scott Mitchell. The first limited edition of 500 hardbound copies.
Publishing details: Melbourne: Australian Scholarly Publishing, 2011. xvi, [2] 422 pages, black and white illustrations. Pictorial matte papered boards. [This copy water damaged]

Adams Tateview full entry

Reference: LYRE BIRD XXI: AN ILLUSTRATED BIBLIOGRAPHY OF THE LYRE BIRD PRESS, 1977-1998, by Tate Adams.
Publishing details: Townsville: Lyre Bird Press for Perc Tucker Regional Gallery, 1998. First Edition. [80] pages, black and white illustrations.

Ref: 1000

REDISCOVERY: AUSTRALIAN ARTISTS IN EUROPE, 1982-1992.view full entry

Reference: see REDESCUBRIMIENTO: ARTISTAS AUSTRALIANOS EN EUROPA, 1982-1992 = REDISCOVERY: AUSTRALIAN ARTISTS IN EUROPE, 1982-1992. Artists include Domenico De Clario, David Keeling, Anne MacDonald, Arone Raymond Meeks, John Neeson, Bronwyn Oliver, Rosslynd Piggott, Bernard Sachs, Wilma Tabacca, and Helen Wright.
Publishing details: Visual Arts/Craft Board, Australia Council, 1992, 72 pp, oblong quarto, coloured and b&w plates and illustrations

Edmond Martin view full entry

Reference: BUS STOPS ON THE MOON: RED MOLE DAYS, 1974-1980. Martin Edmond was born in New Zealand but lives in Australia. He has been a lighting designer in theatre and for rock bands, and a screen writer in the film industry. This is his account of his time with the avant garde theatre group Red Mole, who at one time toured with Split Enz.

Publishing details: Dunedin: Otago University Press, 2020.
First Edition.
24cm x 17cm. 272 pages, illustrations, some colour. Pictorial wrappers.

Ref: 1000

Witzig Johnview full entry

Reference: JOHN WITZIG: SURFING PHOTOGRAPHS FROM THE 1960S AND 70S.
"John Witzig, photographer, writer and designer, contributed his first piece to Surfing World in 1963. From 1967 to 1969 he was editor of Surf International. In 1970 he co-founded Tracks magazine. He is now a designer for the art publishing house Chapter and Verse." (from Australian Portrait Gallery website)

Publishing details: Woollahra: Queen Street Fine Art, 2007.
First Edition.
21.5cm x 20.5cm. 88 pages, illustrations, some colour. Glossy pictorial papered boards.
Ref: 1000

Hainsselin Henry view full entry

Reference: see Bonhams, Sydney, Important Australian Art, 29.11.22, lot 38:
Henry Hainsselin (British, 1815-1886)
Waiting for the Boat, (Departing for Australia), c.1855
signed lower left: 'Hainsselin'
oil on canvas
36.5 x 26.0cm (14 3/8 x 10 1/4in).
Footnotes
PROVENANCE Christie's, London, 23 May 2002, lot 300 Private collection, Melbourne   The emigration of millions of British people across the globe during the Victorian Era gave precedence to a new genre of painting that centered around the emotional impact of departure from home or arrival to a new land, 'Emigration became at the mid-century perhaps the most vivid theme that painters of modern life could tackle. As the seamstress had been an icon of topical, socially concerned art in the 1840s, so the emigrant moved to the centre of the realists stage in the 1850s, whether an artist was a bourgeois realist, engaged in a producing a reassuring and anecdotal image of contemporary life, or a social realist, concerned to bear witness to Victorian Britain's problems and controversies. Artists, audiences and critics were equally likely to be drawn to the subject as one of moment'1 as seen in this captivating example by Henry Hainsselin whose works are extremely rare.  Henry Hainsselin was a painter, lithographer, engraver, and photographer, who studied under Jan Willem Pieneman, Director of the Amsterdam's Royal Academy of Fine Arts. Following his return from his studies to England, Hainssellin exhibited regularly at the Royal Academy between 1843 to 1853, his entries displaying his technical competence with genre and figurative subjects. Hainsselin's first encounter with Australia came in 1846, seven years before he set sail for Melbourne. He was invited by former school friend, George Henry Haydon (1822-1891) to lithograph six sketches of Indigenous Australians in their native surrounds. Haydon, having just returned from five years exploring the fledgling nation, published a personal travel narrative that doubled as an emigrant guide - 'Five Years in Australia Felix'.  Hainsselin left Plymouth, England, in April reaching Melbourne on the 11th September 1853, and like many emigrants before him, headed straight for the gold fields which had only been discovered two years earlier (examples of his goldfield watercolours are held in the State Library of Victoria, Melbourne). Ultimately, Hainsselin shifted between artist and miner, moving around the state over the next few years before returning to Melbourne as a full-time artist and teacher, eventually settling in St Kilda.   This charming and exceptionally rare work is a particularly strong example of a departure picture. Perhaps reminiscing of his own experiences, Hainsselin portrays a young Royal British Navy Midshipman with a clear sense of nostalgia, optimism and hope. His sabre rests upon his bicorne hat box whilst he readies himself for a lifetime of adventures ahead in Australia.   Alex Clark  1. Pamela Gerrish Nunn, 'Look homeward Angel: Marshall Claxton's emigrant', Art Journal 32, 2014, n.p.

Gillen Francis James (1855-1912)view full entry

Reference: see Bonhams, Sydney, Important Australian Art, 29.11.22, lot 37:
Francis James Gillen (1855-1912) and Sir Walter Baldwin Spencer (British, 1860-1929)
A pair of photograph albums, late nineteenth century
with annotations by FJ Gillen and the second album inscribed in ink inside the front cover: 'P.M. Byrne / Charlotte Waters'

Album I clothbound in blue, 29.0 x 26.0cm,
containing 106 photographs numbered 1-106 over 48 pages

Album II with dark green, buckram cover with gold trim, 26.5 x 37.0cm,
containing 151 photographs numbered 107-257 over 41 pages,
and two loose newspaper clippings (one relating to Pat Byrne and one an Australian Newspaper obituary of Baldwin Spencer) and two, double-sided loose sheets of numbered descriptions of photographs written in ink by FJ Gillen
Footnotes
PROVENANCE Patrick Michael Byrne (1856-1932), Charlotte Waters, Northern Territory  Charles Chewings (1859-1937), South Australia thence by descent Dr D. Hugh LeMessurier, Adelaide  thence by descent Private collection, Adelaide  NOTICE Please note that a Moveable Cultural Heritage Permit must be obtained to export this lot from Australia. Please contact the department for further information prior to bidding.   In 1894, Englishman Walter Baldwin Spencer, Professor of Biology at the University of Melbourne, was nominated as biologist and photographer to the Horn Scientific Expedition to central Australia. Funded by mining magnate, pastoralist and politician, William Austin Horn (1841-1922), the main purpose of the expedition was to study and record the natural history of the region. The 14-week journey through the Macdonnell Ranges was a resounding success and in its final weeks forged one of the most significant anthropological partnerships of the late nineteenth and early twentieth centuries – that of Walter Baldwin Spencer and Francis James Gillen.   Gillen, the son of an Irish family who had emigrated to Adelaide, was posted to Alice Springs in 1892 as Post and Telegraph Station Master. He was also a keen anthropologist, encouraged by his friendship with Edward Stirling, the Horn Expedition's leader and South Australian Museum Director, (1) and had developed a significant understanding of Aboriginal culture and language of the region. Upon reaching Alice Springs, the expedition's final destination, Spencer stayed on as a house guest of Gillen, enabling further collection of zoological specimens.(2) Spencer was immediately taken with his host's enthusiasm and knowledge in the field and was to later call Gillen the "most important discovery of his career".(3)  The pair were to carry on important ethnographic and anthropological research in both northern and central Australia over many years. Their ongoing field research and recording of the ceremonies of the Arrente people of central Australia, led them to publish several books with the first publication in 1899, The Native Tribes of Central Australia. They were innovative in their collection of data, using various mediums such as film, audio recording and photography. The photographs contained in these albums are a vital record of ceremonial life in central Australia and the incredible expeditions and research undertaken by the men. Both Spencer and Gillen were keen photographers and frequently exchanged advice, equipment, slides and prints.(4) Thus arises the difficulty in clearly attributing the photographs to one or the other.  In 2015, Bonhams offered a remarkable pair of Spencer and Gillen photographic albums inscribed 'C.E. Cowle', establishing that they had once belonged to Mounted Constable Ernest Cowle (1863-1922) who had been stationed at the outpost of Illamurta Springs. A skilled bushman, Cowle was responsible for the safe and expedited passage of the Horn Expedition to Uluru.(5) The albums in the current lot inscribed PM Byrne, were almost certainly gifted by Gillen to Irish-born Patrick Michael Byrne, postal officer at outpost of Charlotte Waters a few kilometres north of the South Australian border. Byrne was the step-brother of Gillen's wife, Amelia Maud Besley. Gillen and Byrne spent 12 years together at Charlotte Waters.   Spencer met Cowle and Byrne during the Horne scientific expedition and both were tasked with collecting specimens for the expedition's ongoing research on the fauna of the region. Cowle, Byrne and Spencer were to begin a correspondence spanning close to 30 years. The collection of letters written between 1894 and 1935 from Cowle and Byrne to Spencer are held in the collection of the Pitt Rivers Museum, Oxford University and were published in 2000 by John Mulvaney with Alison Petch and Howard Morphy in From the Frontier: Outback Letters to Baldwin Spencer. Mulvaney draws particular attention to the great friendship and respect between these pioneering men, evident in the words of Gillen to Spencer in 1987: 'I don't think there is any man living whose friendship he values as highly as he does yours. He feels and knows that you understand him'. Cowle told Spencer, 'I am awfully glad that you got to know Pat Byrne thoroughly...don't you think he bears out my statement that he was the only man on the line who really was informed on most subjects, and a good fellow besides'.(6)  The albums have been passed down through the family of Charles Chewings (1859-1937), a geologist and anthropologist with a particular interest in Aboriginal culture. Chewings undertook a number of trips to Central Australia, compiling several publications including Back in the Stone Age: The Natives of Central Australia, in 1936 in which 15 of Gillen's photographs were included. A collection of reports concerning Chewings' travels between 1881 and 1909 entitled "The sources of the Finke River and other Expeditions" were published in 2010. Chewings also compiled a two-volume vocabulary of the Aranda language held in the South Australian Museum, Adelaide. Chewings is referenced several times in the Byrne correspondence to Spencer (7).  Francesca Cavazzini  1. John Mulvaney, Howard Morphy and Alison Petch (eds.), 'My dear Spencer': The Letters of F.J. Gillen to Baldwin Spencer, Hyland House, Melbourne, 1997, p.8 2. ibid., p.12 3. D.J. Mulvaney and J.H. Calaby, So Much that is New: Baldwin Spencer 1860-1929 University of Melbourne at the University Press, Melbourne, 1985, p.117 4. ibid., p.165 5. ibid., p.123, p.128 6. Mulvaney, Morphy and Petch, 1997, p.197 7.ibid., pp.236-237

Spencer Walter Baldwin view full entry

Reference: see Bonhams, Sydney, Important Australian Art, 29.11.22, lot 37:
Francis James Gillen (1855-1912) and Sir Walter Baldwin Spencer (British, 1860-1929)
A pair of photograph albums, late nineteenth century
with annotations by FJ Gillen and the second album inscribed in ink inside the front cover: 'P.M. Byrne / Charlotte Waters'

Album I clothbound in blue, 29.0 x 26.0cm,
containing 106 photographs numbered 1-106 over 48 pages

Album II with dark green, buckram cover with gold trim, 26.5 x 37.0cm,
containing 151 photographs numbered 107-257 over 41 pages,
and two loose newspaper clippings (one relating to Pat Byrne and one an Australian Newspaper obituary of Baldwin Spencer) and two, double-sided loose sheets of numbered descriptions of photographs written in ink by FJ Gillen
Footnotes
PROVENANCE Patrick Michael Byrne (1856-1932), Charlotte Waters, Northern Territory  Charles Chewings (1859-1937), South Australia thence by descent Dr D. Hugh LeMessurier, Adelaide  thence by descent Private collection, Adelaide  NOTICE Please note that a Moveable Cultural Heritage Permit must be obtained to export this lot from Australia. Please contact the department for further information prior to bidding.   In 1894, Englishman Walter Baldwin Spencer, Professor of Biology at the University of Melbourne, was nominated as biologist and photographer to the Horn Scientific Expedition to central Australia. Funded by mining magnate, pastoralist and politician, William Austin Horn (1841-1922), the main purpose of the expedition was to study and record the natural history of the region. The 14-week journey through the Macdonnell Ranges was a resounding success and in its final weeks forged one of the most significant anthropological partnerships of the late nineteenth and early twentieth centuries – that of Walter Baldwin Spencer and Francis James Gillen.   Gillen, the son of an Irish family who had emigrated to Adelaide, was posted to Alice Springs in 1892 as Post and Telegraph Station Master. He was also a keen anthropologist, encouraged by his friendship with Edward Stirling, the Horn Expedition's leader and South Australian Museum Director, (1) and had developed a significant understanding of Aboriginal culture and language of the region. Upon reaching Alice Springs, the expedition's final destination, Spencer stayed on as a house guest of Gillen, enabling further collection of zoological specimens.(2) Spencer was immediately taken with his host's enthusiasm and knowledge in the field and was to later call Gillen the "most important discovery of his career".(3)  The pair were to carry on important ethnographic and anthropological research in both northern and central Australia over many years. Their ongoing field research and recording of the ceremonies of the Arrente people of central Australia, led them to publish several books with the first publication in 1899, The Native Tribes of Central Australia. They were innovative in their collection of data, using various mediums such as film, audio recording and photography. The photographs contained in these albums are a vital record of ceremonial life in central Australia and the incredible expeditions and research undertaken by the men. Both Spencer and Gillen were keen photographers and frequently exchanged advice, equipment, slides and prints.(4) Thus arises the difficulty in clearly attributing the photographs to one or the other.  In 2015, Bonhams offered a remarkable pair of Spencer and Gillen photographic albums inscribed 'C.E. Cowle', establishing that they had once belonged to Mounted Constable Ernest Cowle (1863-1922) who had been stationed at the outpost of Illamurta Springs. A skilled bushman, Cowle was responsible for the safe and expedited passage of the Horn Expedition to Uluru.(5) The albums in the current lot inscribed PM Byrne, were almost certainly gifted by Gillen to Irish-born Patrick Michael Byrne, postal officer at outpost of Charlotte Waters a few kilometres north of the South Australian border. Byrne was the step-brother of Gillen's wife, Amelia Maud Besley. Gillen and Byrne spent 12 years together at Charlotte Waters.   Spencer met Cowle and Byrne during the Horne scientific expedition and both were tasked with collecting specimens for the expedition's ongoing research on the fauna of the region. Cowle, Byrne and Spencer were to begin a correspondence spanning close to 30 years. The collection of letters written between 1894 and 1935 from Cowle and Byrne to Spencer are held in the collection of the Pitt Rivers Museum, Oxford University and were published in 2000 by John Mulvaney with Alison Petch and Howard Morphy in From the Frontier: Outback Letters to Baldwin Spencer. Mulvaney draws particular attention to the great friendship and respect between these pioneering men, evident in the words of Gillen to Spencer in 1987: 'I don't think there is any man living whose friendship he values as highly as he does yours. He feels and knows that you understand him'. Cowle told Spencer, 'I am awfully glad that you got to know Pat Byrne thoroughly...don't you think he bears out my statement that he was the only man on the line who really was informed on most subjects, and a good fellow besides'.(6)  The albums have been passed down through the family of Charles Chewings (1859-1937), a geologist and anthropologist with a particular interest in Aboriginal culture. Chewings undertook a number of trips to Central Australia, compiling several publications including Back in the Stone Age: The Natives of Central Australia, in 1936 in which 15 of Gillen's photographs were included. A collection of reports concerning Chewings' travels between 1881 and 1909 entitled "The sources of the Finke River and other Expeditions" were published in 2010. Chewings also compiled a two-volume vocabulary of the Aranda language held in the South Australian Museum, Adelaide. Chewings is referenced several times in the Byrne correspondence to Spencer (7).  Francesca Cavazzini  1. John Mulvaney, Howard Morphy and Alison Petch (eds.), 'My dear Spencer': The Letters of F.J. Gillen to Baldwin Spencer, Hyland House, Melbourne, 1997, p.8 2. ibid., p.12 3. D.J. Mulvaney and J.H. Calaby, So Much that is New: Baldwin Spencer 1860-1929 University of Melbourne at the University Press, Melbourne, 1985, p.117 4. ibid., p.165 5. ibid., p.123, p.128 6. Mulvaney, Morphy and Petch, 1997, p.197 7.ibid., pp.236-237

Evatt Mary Aliceview full entry

Reference: The Brilliant Boy. Doc Evatt And The Great Australian Dissent, by Gideon Haigh.
Longlisted for the 2022 Indie Book Awards Chosen as a 'Book of the Year' in The Australian, The Australian Financial Review and The Australian Book Review. In a quiet Sydney street in 1937, a seven year-old immigrant boy drowned in a ditch that had filled with rain after being left unfenced by council workers. How the law should deal with the trauma of the family's loss was one of the most complex and controversial cases to reach Australia's High Court, where it seized the imagination of its youngest and cleverest member. These days, 'Doc' Evatt is remembered mainly as the hapless and divisive opposition leader during the long ascendancy of his great rival Sir Robert Menzies. Yet long before we spoke of 'public intellectuals', Evatt was one: a dashing advocate, an inspired jurist, an outspoken opinion maker, one of our first popular historians and the nation's foremost champion of modern art. Through Evatt's innovative and empathic decision in Chester v the Council of Waverley Municipality, which argued for the law to acknowledge inner suffering as it did physical injury, Gideon Haigh rediscovers the most brilliant Australian of his day, a patriot with a vision of his country charting its own path and being its own example - the same attitude he brought to being the only Australian president of the UN General Assembly, and instrumental in the foundation of Israel. A feat of remarkable historical perception, deep research and masterful storytelling, The Brilliant Boy confirms Gideon Haigh as one of our finest writers of non-fiction. It shows Australia in a rare light, as a genuinely clever country prepared to contest big ideas and face the future confidently. 'Gideon Haigh has always been an exquisite wordsmith, and he proves here that he is also an intuitive historian and acute biographer with a masterful control of the broad sweep and telling detail' AFR Books of the Year 'Here is a master craftsman delivering one of his most finely honed works. Meticulous in its research, humane in its storytelling, The Brilliant Boy is Gideon Haigh at his lush, luminous best. Haigh shines a light on person, place and era with the sheer force of his intellect and the generosity of his words. The Brilliant Boy is simply a brilliant book.' Clare Wright, Stella-Prize winning author of The Forgotten Rebels of Eureka 'Gideon Haigh has a nose for Australian stories that light up the past from new angles, and he tells this one with verve, grace and lightly worn erudition. I couldn't put it down.' Judith Brett, The Saturday Paper 'An absolutely remarkable, moving and elegant re-reading of the early life of an extraordinary Australian. Gideon Haigh is one of Australia's finest writers and thinkers ... mesmerizing ... one of the best Australian biographies I have read for a long time.' Michael McKernan, Canberra Times
Publishing details: Scribner Australia, 2022, 378 pages.
Ref: 1000

Spoken Objectview full entry

Reference: Spoken Object: A collector's journey in fashion, jewellery, design and architecture, by Gene Sherman. [To be indexed]
This luxuriously presented monograph documents the life, work, architecture and design achievements, plus the art, jewellery and fashion collections of leading Australian cultural advocate Gene Sherman. Here she shares intimate accounts of her journey in her own words and is joined by many internationally renowned and influential art world commentators, curators, fashion designers, and educators who have contributed incisive essays - rich with personal anecdotes - on the impressive cultural trajectory of this world-renowned art advocate and academic, collector and philanthropist. Beautifully photographed throughout, The Spoken Object features many previously unseen pictures of Gene Sherman, along with photographs of her personal collections, iconic fashion items and jewellery, significant art and sculpture, designer furniture, significant architecture, including the beautifully designed interiors of the stunning home she shares with her husband, Brian Sherman. AUTHOR: Dr Gene Sherman AM is a leading Australian cultural figure and philanthropist. She is founder, executive and artistic director of the Sherman Centre for Culture and Ideas (SCCI), established in 2017 as a cultural-exchange platform focusing on contemporary fashion and architecture. For more than two decades, Gene Sherman was director and proprietor of Sherman Galleries, a commercial gallery with a focus on artists from Australia, the Asia Pacific and the Middle East. She was chair and executive director of the Sherman Contemporary Art Foundation, presenting scores of projects by significant visual practitioners across art, architecture, fashion, film and design from the Asia Pacific, Australia and the Middle East. She is an adjunct professor at UNSW Art & Design, a member and co-chair of the Tate Asia-Pacific acquisitions committee, a member of the Tate International Council, and a board member of the Australian Institute of Art History. Gene Sherman regularly lectures on Australian and Asian contemporary art, Australian and Asian private foundations, gallery management, the art of collecting, and architecture and fashion. She was made a Member of the Order of Australia in 2010 in recognition of her cultural philanthropy and support of emerging and established artists. The French Government has honoured Gene Sherman with two prestigious awards in its Legion of Honour awards system: the Officier de l'Ordre des Arts et des Lettres (2016), and the Chevalier de l'Ordre des Arts et des Lettres (2003). She is married, with two children and six grandchildren. She lives in Sydney, Australia.
This luxuriously presented monograph documents the life, work, architecture and design achievements, plus the art, jewellery and fashion collections of leading Australian cultural advocate Gene Sherman. Here she shares intimate accounts of her journey in her own words and is joined by many internationally renowned and influential art world commentators, curators, fashion designers, and educators who have contributed incisive essays - rich with personal anecdotes - on the impressive cultural trajectory of this world-renowned art advocate and academic, collector and philanthropist. Beautifully photographed throughout, The Spoken Object features many previously unseen pictures of Gene Sherman, along with photographs of her personal collections, iconic fashion items and jewellery, significant art and sculpture, designer furniture, significant architecture, including the beautifully designed interiors of the stunning home she shares with her husband, Brian Sherman. AUTHOR: Dr Gene Sherman AM is a leading Australian cultural figure and philanthropist. She is founder, executive and artistic director of the Sherman Centre for Culture and Ideas (SCCI), established in 2017 as a cultural-exchange platform focusing on contemporary fashion and architecture. For more than two decades, Gene Sherman was director and proprietor of Sherman Galleries, a commercial gallery with a focus on artists from Australia, the Asia Pacific and the Middle East. She was chair and executive director of the Sherman Contemporary Art Foundation, presenting scores of projects by significant visual practitioners across art, architecture, fashion, film and design from the Asia Pacific, Australia and the Middle East. She is an adjunct professor at UNSW Art & Design, a member and co-chair of the Tate Asia-Pacific acquisitions committee, a member of the Tate International Council, and a board member of the Australian Institute of Art History. Gene Sherman regularly lectures on Australian and Asian contemporary art, Australian and Asian private foundations, gallery management, the art of collecting, and architecture and fashion. She was made a Member of the Order of Australia in 2010 in recognition of her cultural philanthropy and support of emerging and established artists. The French Government has honoured Gene Sherman with two prestigious awards in its Legion of Honour awards system: the Officier de l'Ordre des Arts et des Lettres (2016), and the Chevalier de l'Ordre des Arts et des Lettres (2003). She is married, with two children and six grandchildren. She lives in Sydney, Australia.

Publishing details: Images Publishing, 2022, 412pp
Ref: 1009

Parr Martinview full entry

Reference: Martin Parr. No Worries.
"No Worries" shows people and everyday scenes of the white population of Western Australia. The photographs were taken in 2011 in Broome, Fremantle and South Hedland. - The photo book was published to accompany the Magnum photographer's exhibition of the same name in spring 2012 at the Western Australian Maritime Museum in Fremantle, as part of the FotoFreo 2012 Biennial. - With a foreword by Robert Cook, curator of the Art Gallery Western Australia.
Publishing details: Sydney, T & G 2012. with 93 full-page color illustrations from photographs. Bright red original paperback with illustrated -protective dust jacket. In original slipcase. Edition of 50. with the enclosed signed color photograph "Port Beach Polar Bears" (template for the illustration on the dust jacket, 27.8 : 35.3 cm, signed and numbered on the reverse). - Book and photograph together with the certificate and a pair of silk gloves in the original black box.  24.3 : 26.8 cm. 125, [7] pages (book). - 39 : 31 : 5 cm (cassette). in box. 
Ref: 1000

Knapman Robertview full entry

Reference: see Sydney Rare Book Auctions
November 18, 2022,, lot 1135, Triptych Prints in Pastel by Ronald Knapman Unveiling by the Governor of NSW Rear Admiral Peter Sinclair, of the sculpture of Governor Lachlan Macquarie during the Hawkesbury Bi-Centennial Celebrations, McQuade Park, Windsor on 1st October, 1994

Fuller Florenceview full entry

Reference: see Deutscher & Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 1.12.22
lot 22
FLORENCE FULLER
(1867 - 1946)
PORTRAIT OF A CHILD, c.1889
oil on canvas
61.0 x 50.0 cm
bears inscription on frame verso: Portrait of a Child Florence A. Fuller
PROVENANCE
Robert Law, Melbourne, acquired in the 1890s Thence by descent Private collection, Melbourne
EXHIBITED
Winter Exhibition, Victorian Artists’ Society, Grosvenor Galleries, Melbourne, 4 May 1889, cat. 88
LITERATURE
‘Winter Exhibition of the Victorian Artists’ Society’, The Argus, Melbourne, 15 May 1889, p. 9
CATALOGUE TEXT
Florence Fuller was acclaimed as an art prodigy in mid to late 1880s Melbourne. She came to attention initially for completing unfinished portrait commissions after the premature death of her uncle, major late colonial artist, Robert Dowling, and opened a professional art studio in Melbourne before she was twenty. Between 1886 and 1892, her figure work and genre subjects were greatly admired, although reviewers equally credited her for plein air landscapes, still lifes, flowers and formal portraits. Such early recognition was formalised when she was awarded a prize for the best portrait in oils by an artist under 25 at the Victorian Artists Society exhibition in 1888.1 Notably Arthur Streeton likewise received a prize for his oil paintings and landscapes in the same competition.   Fuller was uniquely mobile and cosmopolitan for a late Victorian to Edwardian Australian woman artist. By 1900, she had worked in Melbourne, South Africa, Paris, London before settling in Perth in 1904 – only to leave for India in 1908, where she lived and painted at Adyar, the headquarters of the Theosophical Society. From 1905 onward this organisation became a dominant pivot in her professional and personal life. After returning to London in time to march with her colleague Annie Besant in suffragette protests in 1911, she finally settled in Australia by 1919.   Exhibited alongside such celebrated works as Frederick McCubbin’s Down in his Luck, 1889 (Art Gallery of Western Australia); Arthur Streeton’s Golden Summer, Eaglemont, 1889 and Conder’s Hot Wind, 1889 (both in the collection of the National Gallery of Australia), the present Portrait of a Child, c.1889 was one of five works exhibited by Fuller in the 1889 Victorian Artists Society exhibition at the Grosvenor Galleries. A hitherto unseen painting from her Melbourne period, Portrait of a Child is a continuation of Fuller’s engagement with the lives of poor and marginal children in settler Australia that has expanded current understanding of late 19th century Australian art as seen in Weary, 1888 (Art Gallery of New South Wales) and Paper Boy, 1888 (National Gallery of Victoria). Possibly this work is Desolate, a now unknown work, that was mentioned in the press in 1891 as both being a companion to Weary and, also having found a buyer in Melbourne. Both works were typical of the subjects of care and concern that ‘touch... an appreciative chord in the hearts and tastes of the fine art patrons of Australia.’2   In 1888 Fuller painted a much-admired genre scene Gently reproachful, a working-class girl mending her brother’s clothes, set in the interior of a poor room.3 There is a clear synergy to Portrait of a Child which is likewise set in an empty and bare room, and features the young girl engaged in domestic labour – in this case churning butter. Fuller’s strong social conscience comes to the fore as the viewer’s sympathy is directed to young girl hard at work, with nothing to distract or comfort her, seated in a somewhat claustrophobic, dreary and impoverished kitchen that lacks any of the happy bric-a-brac, silverware, candlesticks, crockery of McCubbin’s Kitchen Interior, Old King Street Bakery, 1884 (Art Gallery of South Australia). Alternatively, could the Portrait of a Child have been intended as a genre scene referring to popular narratives of Cinderella or Victor Hugo’s Cosette, sharing the profound existential misery of each character? Fuller’s picture again makes viewers rethink and extend what is known and expected from Australian artists in the 1880s and 90s – and equally, changes the parameters about what is known and expected from Australian women in the plein air circle.  The Leader, Melbourne, 19 May 1888, p. 29Illustrated Sydney News, Sydney, 9 May 1891, p. 11‘Victorian Artists Society: The Spring Exhibition’, The Age, Melbourne, 16 November 1888, p. 8  DR JULIETTE PEERS

Rae Isoview full entry

Reference: see Deutscher & Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 1.12.22, lot 23
ISO RAE
PROVENANCE
Jules de Beaumont, France, acquired directly from the artist, c.1909 Thence by descent Private collection, France Thence by descent Private collection, France
EXHIBITED
55e Exposition de la Société des Amis des Arts de Douai, Douai, France, 1909, cat. 222
CATALOGUE TEXT
Following formal training at the National Gallery School in Melbourne alongside Frederick McCubbin, Tom Roberts and Jane Sutherland, Isobel Rae and her sister Alison travelled to Paris in 1887 with their mother, intending to further their promising artistic studies.1 Although they would encounter many visiting compatriots in the vibrant expatriate artistic colony of Étaples, a fishing port on the north-western Opal Coast of France where they settled in 1893, they were never to return to Australia. Iso Rae remained unmarried and was closely attached to her family. Her impressionist paintings depicted the humble fisherfolk of the village with compassion and respect for the local culture and customs. In 1906, fellow expatriate artist Grace Joel praised Rae’s ability to ‘paint outdoor figure subjects with rare charm and poetry.’2Une Tricoteuse (A Knitter), c.1909 is one such work – a tender portrait of a young local peasant woman knitting in the garden, lost in reverie, and bathed in brilliant sunlight.   In the same manner as leading impressionists back home, Iso Rae mostly worked in the open air, direct from the motif. Utilising life-drawing skills acquired at the progressive Académie Colarossi in Paris, Rae achieved some level of success in the style of genre painting, regularly sending paintings to the Old Salon, the Société Nationale des Beaux Arts, the Royal Society of British Painters and other local salons. In the summer of 1910 when her former National Gallery classmate Hilda Rix Nicholas arrived in Étaples, Iso Rae obtained a studio space for her in the garden of Monsieur and Madame Monthuys-Pannier, adjacent to one occupied by Jules Adler, a successful French genre painter known for his style of social realism as ‘the painter of the people.’3 Alder’s influence on both Rae and Rix Nicholas can be keenly felt in their humanistic portraits recording the ordinary lives of the women of Étaples while the men were out at sea. Models were apparently plentiful and would pose well for a small payment, either in the studio or in the picturesque gardens that lie hidden behind the street doors.4   The young knitter stands alone in a garden, absent mindedly attending to her domestic chores, perhaps while she watches over children at play. She wears a simple outfit, her hair uncovered without the traditional calipette (Breton bonnet). Using lilac tones highlighted with impasto white and pale pink pigment, the figure of the woman blends harmoniously with the immersive green hues of her background. Rae pays particular focus to light and texture, from the soft modulated greens of the moist garden to the structural deep pleats of the woman’s blouse and coarse knitting dangling from her hands. Her emphasis on the tactile qualities of both the paint and the landscape is shared with other exponents of Australian Impressionism.5 The large scale of the figure and absence of a horizon line is characteristic of Rae’s work of this period, as can be seen also in the format of Young Girl, Étaples, c.1892, in the collection of the National Gallery of Victoria. The flush of youth and private smile of this young woman hint to an inner life beyond her immediate domestic travail and creates a peaceful and intimate atmosphere with the viewer.   After its exhibition in a local salon in Douai in 1909, Une Tricoteuse was purchased by a well-regarded local magistrate who collected paintings from this region including others by Frits Thaulow, William Gore, and Henri Le Sidaner. Having been passed down within his family in France, this is the first time that the painting has been seen in Australia.   1. Finucane, P. and Stuart, C., Odd Roads To Be Walking, Red Barn Publishing, Ireland, 2019, p. 27 2. Joel, G., cited in Field, I., Letters from Alison and Iso Rae, Ivory Print, Victoria, 2011, p. 92 3. Travers, R., Hilda. The Life of Hilda Rix Nicholas, Thames and Hudson, Melbourne, 2021, p. 45 4. As related by artist Jane Quigley in ‘Picardy: A Quiet Simple Land of Dreamy Beauty Where Artists Fine Much to Paint’, The Craftsman, London, vol. XII, June 1907 5. Gray, A. and Hesson, A. (eds.), She-Oak and Sunlight: Australian Impressionism, National Gallery of Victoria, Melbourne, 2021, p. 188   LUCIE REEVES-SMITH
(1860 - 1940)
UNE TRICOTEUSE (A KNITTER), c.1909
oil on canvas
59.0 x 43.0 cm
signed lower right: ISO RAE

Russell John Peterview full entry

Reference: see Deutscher & Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 1.12.22, lot 24
JOHN PETER RUSSELL
(1858 - 1930)
A BLOSSOM TREE, BELLE-ÎLE, 1887
oil on canvas
61.5 x 46.5 cm
signed, dated and inscribed lower left: …’To my friend Monsieur Dufour Those friends thou hast, grapple them to thy heart with hooks of steel / Belle Ile 1887/J. P. Russell’

John Russell holds a unique place in Australian art history for his close association with avant-garde circles in 1880s Paris and his firsthand acquaintance with some of the masters of European Impressionism and Post-Impressionism. As a student at Fernand Cormon’s atelier in Paris in the mid-1880s, Russell worked alongside Émile Bernard, Henri de Toulouse-Lautrec and later, Vincent van Gogh, with whom he established an enduring friendship.1 On a summer break from Paris in 1886, Russell spent several months on Belle-Île, one of a group of small islands off the coast of Brittany. It was here that he met and befriended Claude Monet who he saw working en plein air, famously introducing himself by asking if he was indeed ‘the Prince of the Impressionists.’ Uncharacteristically, Monet allowed Russell to watch him work and on occasion, to paint alongside him, experiences that provided the young Australian artist with an extraordinary insight into the techniques and working method of one of the founders of the Impressionist movement. The influence on Russell was significant and the paintings he made in Italy and Sicily only a few months later show him working in a new style, using a high-keyed palette (from which black had been banished entirely) and his compositions made up of strokes of pure colour.2 In addition to showing him how to use colour as a means of expressing a personal response to the subject, Monet’s example also highlighted for Russell the importance of working directly from nature.3   Inherited wealth afforded Russell freedoms that others did not have and inspired by the possibilities of Belle-Île for his art and his life, he bought land overlooking the inlet of Goulphar. Writing to Tom Roberts in October 1887, he said, ‘‘Well my dear TR I’m about finished with studios & will jump out of Paris as soon as possible. The tone of things don’t suit me… I am about to build a house in France. Settle down for some five years. Get some work done. It will be in some out of the way corner as much as a desert as possible.’4 Russell lived on the island until 1909 and the subjects it offered – especially the sea and rugged coastline – encouraged what Russell scholar, Ann Galbally, described as an ‘intensity of vision’ in which experimental brushstrokes and his committed pursuit of pure colour captured the distinctive changing light and atmospheric conditions of the environment.5
Russell had a deep interest in Japanese art and this is reflected in A Blossom Tree, Belle Île, 1887 and a number of other related paintings of spring blossoms made around this time, including The Garden, Longpré-les-Corps-Saints, 1886 (private collection) and Almond Tree in Blossom, 1887 (National Gallery of Victoria). Russell had seen Japanese ceramics and bronzes in the 1879 – 80 Sydney International Exhibition, but a broader interest was stimulated by van Gogh who collected Japanese ukiyo-e woodblock prints (as did his brother, Theo, and Monet) – developing a collection which numbered in the hundreds – and encouraged him to do the same.6 Russell absorbed the lessons of Japanese ukiyo-e design, introducing flattened pictorial space, distortions of traditional perspective and dramatic cropping of subjects to his compositions. Almond Tree in Blossom, 1887 (National Gallery of Victoria) employs bold cropping and a close-up view of the blossom-covered branches, which are flattened in space against a solid but shimmering background of powdered bronze paint, itself a reference to the gilded backgrounds of Japanese screens.7 In this painting, the dramatic reflection of the tree trunk connects the reedy foreground, the central band of water, and the distant grassy bank – with a small cottage pictured just right of the tree – within a tightly compressed space. Prominently positioned at the front of the picture plane and filling the entire top section of the canvas, the blossoming tree and its beauty is Russell’s focus. The delicacy and transience of this seasonal flowering provides a poignant contrast to the dedication Russell inscribed to his friend Monsieur Dufour, which reads, ‘Those friends thou hast, grapple them to thy heart with hooks of steel.’   This painting has a notable provenance, having been one of several works by Russell in the Jack Manton Collection of Australian Impressionist Art. Begun in 1961, the collection aimed to ‘include the best possible example of the chosen artist’s work, capture developmental changes (if any) and show any shift of emphasis in style, period or location’.8 Many paintings from the Manton Collection were subsequently acquired for the permanent collection of the National Gallery of Victoria.  1. Although Russell did not see van Gogh again after he departed for Arles in the south of France in early 1888, their friendship continued via extensive correspondence. See Galbally, A., A Remarkable Friendship: Vincent van Gogh and John Peter Russell, The Miegunyah Press, Carlton, 2008. 2. Taylor, E., ‘John Russell and friends: Roberts, Monet, van Gogh, Matisse, Rodin’, Australian Impressionists in France, National Gallery of Victoria, Melbourne, 2013, p. 60 3. Prunster, U., ‘Painting Belle-Île’, Prunster, U., et al., Belle-Île: Monet, Russell and Matisse, Art Gallery of New South Wales, Sydney, 2001, p. 31 4. Russell to Tom Roberts, 5 October 1887, cited in Tunnicliffe, W., (ed.), John Russell: Australia’s French Impressionist, Art Gallery of New South Wales, Sydney, 2018, p. 193 5. Galbally, op cit., p. 15 6. Tunnicliffe, op. cit., p.39 7. Taylor, op. cit., p. 57 8. Manton, J., ‘Genesis’ in Australian Painters of the Heidelberg School: The Jack Manton Collection, Oxford University Press, Melbourne, 1979, p. 148  KIRSTY GRANT

Molvig Jon Sleeping Lubraview full entry

Reference: see Deutscher & Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 1.12.22, lot 41
JON MOLVIG
(1923 - 1970)
SLEEPING LUBRA, 1958
oil on composition board
76.5 x 102.5 cm
signed and dated lower right: Molvig 58
PROVENANCE
Estate of A. Waldron The Johnstone Collection, Brisbane Christie’s, Brisbane, 5 June 1994, lot 14 Philip Bacon Galleries, Brisbane Private collection, Brisbane, acquired from the above
EXHIBITED
Jon Molvig, The Johnstone Gallery, Brisbane, 28 April – 15 May 1959, cat. 4 Jon Molvig: Maverick, Queensland Art Gallery, Brisbane, 14 September 2019 – 2 February 2022
LITERATURE
Churcher, B., Molvig - the lost Antipodean, Penguin Books, Melbourne, 1984, cat. 207, pp. 74, 77 (illus.) Hawker, M., Heiser, B., Helmrich, M., and Littley, S., Jon Molvig: Maverick, Queensland Art Gallery, Brisbane, 2019, pp. 16, 108 (illus.), 178
CATALOGUE TEXT
‘Because he has been so difficult to categorize, Molvig has often been overlooked by historians and curators, and there are few artists about whom such confusion has reigned. Yet, at the full stretch of his talent, he has produced images so powerful and urgent that they have that quality of all good art: they remain in the mind in all their original clarity.’1   From a working-class family in Newcastle, Molvig experienced an unsettled childhood and then served in New Guinea and the Philippines during World War II. He studied art in Sydney before travelling to Europe where he encountered the German and Norwegian expressionists whom he believed were more influential on his practice than his Australian contemporaries… In 1955, Molvig would settle in Brisbane for the better part of his adult life. At the time, the only formal courses for emerging artists involved particularly rigid and rigorous technical training, and little consideration of style. From a studio in Kangaroo Point, which was run by John Rigby (who had inherited it from Margaret Cilento), Molvig offered an alternative. At the same time as teaching a growing cohort of rapt students, Molvig developed his own distinctive style, one that Betty Churcher called ‘a lucid and accomplished expressionism.’2   An intensely complicated artist and individual, Molvig was a relentless innovator and his experimentation could be brilliantly iconoclastic. In Robert Hughes’ The Art of Australia, the young critic singled out Molvig: ‘His art exalts the vitality of the first moment of perception,’ Hughes wrote, noting that while the artist’s style was mutable, his exploration of new techniques and approaches was nonetheless strategic.3   A formidable presence on the Brisbane art scene during the late 1950s and 1960s, indeed Molvig’s work was provocative, and as inspiring to his students as it was insistent and uncompromising… Churcher divided this part of his career into two periods: tumultuous and complex pictures from the late 1950s and early 1960s – punctuated by a series of landscapes that built on his visit to Central Australia in 1958 – and his ‘Eden industrial’ pictures, inspired by Newcastle.4 Discussing Sleeping Lubra, 1958 and another closely related work from this period titled Untitled Portrait: Sleeping Aboriginal Woman and Child, 1958, Churcher notes that ‘…the allegorical quotient ensured that Molvig was able to operate on a level of meaning that went beyond the image. In both paintings an Aboriginal woman in a pink dress lies in a parched landscape under a hot sky. The anthropomorphic curves and furrows that had animated the surface of Ayer’s Rock in Centralian Landscape have hereby been given specific human form, and like the legendary women from the Aboriginal Dreaming, they seem at the very point of metamorphosis, when their bodies will be converted forever into the features of the landscape. They could also be a metaphor for the desert: the arid land that stretches out like a baited trap, set with opalescent colour to seduce the eye and lure the foolhardy or unwary to their death.’5   Significantly, Sleeping Lubra, 1958 was recently included in the major retrospective exhibition at the Queensland Art Gallery I Gallery of Modern Art, Brisbane from 2019 – 20. In the accompanying publication, Jon Molvig: Maverick, the first significant monograph on the artist since 1984, curator Michael Hawker elaborates, ‘…In works such as Sleeping Lubra, 1958, the figures are not just part of the landscape, they embody it. In Sleeping Lubra, the woman’s languid arm in the foreground has the contours of a dry creek bed while her torso and hips echo worn ridges and deep valleys. Molvig enhances this idea of embodiment in his use of colour – the ochre-like, chalky pinks, oranges, greys and charcoals immediately suggest the distinctive hues of the outback.’6  1. Betty Churcher cited in Jon Molvig: Maverick, Queensland Art Gallery I Gallery of Modern Art, Brisbane, 2019, p. 94 2. Churcher, B., Molvig -The Lost Antipodean, Penguin Books, 1984, p. 47 3. Hughes, R., The Art of Australia, Penguin Australia, Melbourne, 1984, p.43, cited in Saines, C., ‘Foreword’ in Jon Molvig: Maverick, op. cit. ibid., p. 9 4. Saines, ibid. 5. Churcher, 1984, op. cit., p. 73 6. Hawker, M., ‘John Molvig: Restlessness of Vision’, in John Molvig: Maverick, op. cit., p. 16 

Glover John Richardson sketchbookview full entry

Reference: see Deutscher & Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 1.12.22, lot 75
JOHN RICHARDSON GLOVER
(1790 - 1868)
SKETCHBOOK OF VIEWS IN ITALY, c.1849
bound sketchbook with 39 sketches pencil, pen, ink and wash on paper
12.0 x 19.0 cm (sheet, each) 13.5 x 19.5 cm (book)
34 sketch
PROVENANCE
Private collection, Tasmania, acquired c.1850s Thence by descent Private collection, Tasmania
EXHIBITED
on short term loan to Queen Victoria Museum Launceston, Tasmania, for the purposes of research, 1977 on short term loan to the Australian National Gallery, Canberra, for the purposes of research, 1981 – 82 on short term loan to the Tasmanian Museum and Art Gallery, Tasmania, for the purposes of research, 2000
RELATED WORKS
John Glover, (Sketchbook no. 87: Italy), 1818, pencil, pen, ink and wash, 18.1 x 11.8 cm, in the collection of the Tasmanian Museum and Art Gallery, Hobart, illus. in Hansen, D., John Glover and the Colonial Picturesque, Tasmanian Museum and Art Gallery, Hobart, 2003, p. 253
CATALOGUE TEXT
We are grateful to Jane Stewart, Principal Curator of Art for the Tasmanian Museum and Gallery, for her assistance with this catalogue essay.  When the eminent landscape artist John Glover emigrated from England to Van Diemen’s Land, he was accompanied by his wife and eldest son, John Richardson Glover.1 He was sixty-four; John Richardson forty-one. Arriving in Hobart Town in April 1831, they were reunited with his three other sons, who had begun farming on palawa land two years earlier. In 1832 John was granted land by the Nile River in northern Tasmania where they built their house Patterdale. Here he re-established his painting practice, ably supported by John Richardson as studio assistant and farmer. As we know well, John became Tasmania’s most renowned colonial landscape artist. An art teacher in England, John Richardson’s own artistic output in Van Diemen’s Land was limited, and he is best known now for pen and wash drawings recording local buildings and letters describing of their life and activities, significant documents about colonial Tasmanian settlement.   This small sketchbook draws upon the talents and activities of both artists. It is one of the extant examples showing John Richardson’s close artistic relationship with his father, and the vital role that sketching, copying and re-using earlier visual records played before the development of photography. The book contains thirty-nine (previously forty-four) small monochromatic landscapes – the features outlined in pen and ink and enhanced with even tonal washes, which evoke the atmosphere and luminosity of the Italian vistas depicted. A hand-written index, titled Views in Italy, provides locations for the topographical vistas: St Peter’s in Rome, Lake Nemi, the Taro River, Suza and so on.2  Yet John Richardson is not known to have visited Italy. Instead, the numbers at the lower left of each drawing correspond with sketches in one of the 104 sketchbooks John had brought with him to Van Diemen’s Land. John is known to have been an inveterate sketcher and traveller, often fitting multiple sketches per page. His pupil Edward Price wrote: ‘His knowledge was almost entirely derived from the Study of Nature and not from Works of Art. His numerous Sketchbooks are full of Indian Ink drawings made at all hours… Nothing escaped his observation and he never lost an opportunity of noting down anything that was worth remembering.’3 During 1818 John had travelled to Italy, seeing in the flesh picturesque views and edifices that he would have previously only studied in engravings and other tourists’ art. His only surviving Italian sketchbook, Sketchbook 87, is held by the Tasmanian Museum and Art Gallery, Hobart and records some of the evocative landscapes, churches and Roman ruins that he had seen. It is well known that John called upon his sketchbooks throughout his life: in 1835 at Patterdale, for example, he painted My last view of Italy, looking from the Alps over Suza (Art Gallery of New South Wales).   Upon John’s death in 1849, his sketchbooks were distributed between his three surviving sons. Sketchbook 87 was given to John Richardson, and he selected forty-four views to copy for his, or another’s, further use, possibly before sale.4 A Whatman watermark, dated 1849, shows that the sketchbook was made no earlier than the year of John’s death.  1. Contemporary statements suggest that debts accrued by John Richardson influenced their move. 2. Sketches numbered 5 – 8 and 12 are now missing from the book. 3. Edward Price, quoted in David Hansen (ed.), John Glover and the Colonial Picturesque, Tasmanian Museum and Art Gallery, Hobart, 2003, p. 44 4. Hansen, ibid., p. 264  ALISA BUNBURYes are numbered and inscribed with title

Hirschfeld-Mack Ludwig collection of 15 worksview full entry

Reference: see Deutscher & Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 1.12.22, lots 80-94

Rehfisch Alisonview full entry

Reference: see menzies Art Brands, THE COLLECTION OF MILLIE PHILLIPS AND IMPORTANT AUSTRALIAN & INTERNATIONAL ART, lot 55
ALISON REHFISCH
Lemon And Grey 1933

oil on canvas on board
30.5 x 35.0 cm

signed lower right: A. REHFISCH
Provenance:
Macquarie Galleries, Sydney H. M. Sherrard, Sydney Sotheby's, Sydney, 29 November 1991, lot 276 (as Corner of the Studio) Private collection, Sydney
Literature:
'Art Exhibitions. Mrs. Rehfisch and Mr. Duncan,' The Sydney Morning Herald, Sydney, 21 April 1933, p.7 Burke, J., Australian Women Artists, One Hundred Years: 1840-1940, Greenhouse Publications, Melbourne, 1980, p.177 (illus. p.134, pl.60, as Still Life with Gardenia c1930) Power, R., Alison Rehfisch: A Life for Art, The Beagle Press, Sydney, 2002, p.141, cat.10 (illus. pp.5, 18)
Exhibited:
Joint Exhibition with George Duncan, Macquarie Galleries, Sydney, 20 April 1933 Paintings by Alison Rehfisch, Macquarie Galleries, Sydney, 21-27 November 1933, cat.21 (inscribed on label attached verso) Australian Women Artists, One Hundred Years: 1840-1940, Ewing and George Paton Galleries, University of Melbourne, Melbourne, 2 - 27 September 1975 (label attached verso) The Art of Alison Rehfisch, S.H. Ervin Gallery, Sydney, 20 April - 26 May 2002 Exhibition in Melbourne 10-13 November, 10am-5pm 1 Darling Street, South Yarra    23 NOVEMBER AUCTION  CATALOGUE ONLINE   

  THE COLLECTION OF MILLIE PHILLIPS AND IMPORTANT AUSTRALIAN & INTERNATIONAL ART, 23 November, 2022
Mrs Rehfisch’s success depends on an unusual combination of qualities. There are many artists with a strong feeling for pattern; many with a keen sense of colour; and many equipped with a ready technique for expressing tone and texture. Mrs Rehfisch, however, excels in all three departments. This … gives her canvases their singular effect of completeness and concentration. The effect is most noticeable in the still-life subjects, especially ‘Green and Orange’ and ‘Lemon and Grey.’1
Lemon and Grey 1933 is a singular example of Alison Rehfisch’s still-life paintings, created during the most important year of her working life. In April 1933, Rehfisch staged her first joint exhibition with fellow Sydney painter George Duncan (1904-1974); the man who would later become her second husband. Rehfisch’s first solo exhibition was held at Macquarie Galleries the following November, with an opening speech by her friend and mentor, Margaret Preston (1875-1963).2 Rehfisch would depart Australia at the end of that year to study at London’s Grosvenor School of Modern Art under the tutelage of Iain Macnab (1890-1967), the pioneering Scottish painter and printmaker.
Lemon and Grey reveals an artist already well versed in the principles of modernist still-life painting. Rehfisch maintains a muted palette in complementary tones of pink and green, yellow and mauve. Natural elements are expertly contained by a cluster of vessels in earthenware and glass, throwing dense shadows onto the adjacent walls and tabletop. The diamond-like shape of the central composition is repeated in the black-and-white tiling of the upper right. It is an image marked by its composure and coolness, a vision of domesticity untouched by the chaos of modern life.
Footnotes: 1. ‘Art Exhibitions. Mrs. Rehfisch and Mr. Duncan,’ The Sydney Morning Herald, Sydney, 21 April 1933, p.7 2. Power, R., Alison Rehfisch: A Life for Art, The Beagle Press, Sydney, 2002, p.57
Catherine Baxendale

Australian Photographer’s Collection Theview full entry

Reference: The Australian Photographer’s Collection. Also titled : Fuji ACMP Australian photographers collection. [To be indexed] Published in conjunction with the Society of Advertising, Commercial and Magazine Photographers (ACMP).
The first ten years of this annual hardcover celebration of Australian photography. Filled with both contemporary and historical imagery by photographers such as Max Dupain, Rennie Ellis, Wolfgang Sievers and others.

Publishing details: Sydney : Craftsman House, 1995 – 2006. Ten volumes, quarto, lettered cloth in dustjackets, each volume approximately 220 pages, extensively illustrated.
Ref: 1000

Ryrie John view full entry

Reference: Strangers on a train : 48 linocuts. A collection of linocuts prints derived from sketches made on public transport during the Covid-19 pandemic.
This dangerous chance assemblage of masked faces is given an appropriately scary noir title suggested by the Patricia Highsmith novel and the better-known Alfred Hitchcock film.
John Ryrie is a Melbourne based artist-printmaker who has worked in the field of artists’ books since 1990. His work is held in major Australian collections such as the National Gallery of Australia, National Library of Australia, and state galleries and libraries. His work is characterised by the simple graphic power of wood cut and linocut, with Ryrie drawing inspiration from German expressionism and Japanese woodblock design.

Publishing details: Melbourne : the artist, 2021. Artist’s book, cloth over boards, stitch bound, 205 x 140 mm, pp. [60], printed with 48 linocuts, limited edition of 16 signed and numbered copies.

Ref: 1000

Ryrie John view full entry

Reference: There was a madman
With linocuts by John Ryrie. A rhyme from Tommy Thumb’s Pretty Song Book (c. 1744) illustrated with four full page linocuts. John Ryrie is a Melbourne based artist-printmaker
Publishing details: Melbourne : Canning Street Press, 1992. Artist’s book, lettered cloth, 308 x 245 mm, pp. [12], printed with linocuts, limited edition of 30 signed and numbered copies.
Ref: 1000

Ryrie John view full entry

Reference: Magpie song

Publishing details: Melbourne : Cockatoo Press, 1999.
Ref: 1000

Ryrie John view full entry

Reference: Hole story
Publishing details:
Melbourne : the artist, 2020.
Ref: 1000

Two French Sisters in Australiaview full entry

Reference: Two French Sisters in Australia 1881 – 1922 Berthe Mouchette and Marie Lion Artists and Teachers.
‘Culture in Melbourne was changed in 1881 when two French women, Berthe Mouchette and her sister Marie Lion, came to Australia. The sisters were artists and teachers who had exhibited at the Paris Salon and they soon established studios in Collins Street.
Berthe and Marie spent forty-one years in Melbourne and Adelaide. They taught painting and the French language, and purchased ‘Oberwyl’ school in St Kilda where they founded the Alliance Française in Australia. During the depression of the early 1890s, the sisters sold the school and moved to Adelaide where they became involved in the South Australian art scene. They opened studios and tutored members of Adelaide society. The sisters were founding members of the Adelaide branch of the Alliance Française, members of the Theosophical Society and founding members of the Cremation Society.
Influenced by their interest in Theosophy, they were early travellers to India and Tibet. After they returned to Adelaide, Marie Lion wrote two novels based on her experiences, and another about the French Revolution. When war broke out in 1914, the sisters travelled to Paris and volunteered as nurses in a Paris hospital
In the 1920s, the sisters were instrumental in Adelaide’s adoption of the town of Dernancourt in the Somme. Berthe is memorialised today in the Gallery of Heroes in Albert. Marie died in 1922 and Berthe soon returned to a Paris strongly affected by the war. In 1894, the Alliance Française in Melbourne established an annual poetry competition for school children, the Concours Berthe Mouchette, in her honour.
This is an important biography and social history, detailing the influence of the French in Melbourne and Adelaide through the lives of these two French sisters.
About the Author
John Drury OAM is a mechanical designer, a founding member of the Institute for the Study of French Australian Relations (ISFAR), and a co-founder of the C.J. La Trobe Society. John has written a number of papers for the journal Explorations, now the French Australian Review, and has contributed entries for Berthe Mouchette and Marie Lion to the French-Australian Dictionary of Biography. He published a lavishly-illustrated book, The Making of a Statue, Charles Joseph La Trobe, describing the process of creating the sculpture he commissioned in 2006. John has a lifelong love of France and has travelled there frequently.’

Publishing details: Melbourne : Anchor Books Australia, 2021. Quarto, illustrated wrappers, pp. 214, illustrated. With index. [Filed under Mouchette on shelves in Scheding Library]

Newton Helmutview full entry

Reference: Helomut Newton - Legacy, by Matthias Harder.
Virtually unparalleled in scope and spanning more than five decades, the photography of visionary Helmut Newton (1920-2004) reached millions through publication in magazines like Vogue and Elle. His oeuvre transcended genres, bringing elegance, style, and voyeurism to fashion, portrait, and glamour photography
Publishing details: Cologne : Taschen, 2022. Folio, boards in dustjacket, pp. 424, illustrated.
Ref: 1000

Puruntatameri Eddieview full entry

Reference: Tiwi potters : commemorating the life and work of Eddie Puruntatameri.
Introduction by Thancoupie.
Publishing details: Darwin : Munupi Arts & Crafts Association, 1996. Quarto, illustrated wrappers, pp. [20], illustrated.
Ref: 1000

Wrapped in a possum skin cloak.view full entry

Reference: Wrapped in a possum skin cloak. The Tooloyn Koortakay Collection in the National Museum of Australia, Jane Reynolds in collaboration with Debra Couzens, Vicki Couzens, Lee Darroch and Treahna Hamm.
In a museum, is where Debra Couzens, Vicki Couzens, Lee Darroch and Treahna Hamm found the inspiration to revive their communities’ craft of cloak-making. Comprising tools, artworks, ornaments and two magnificently worked possum skin cloaks, this collection is testament to their commitment and the resilience of their culture.
Publishing details: Canberra : National Museum of Australia, 2005. Small quarto, illustrated wrappers, pp. 64, illustrated.
Ref: 1000

Ilan pasin view full entry

Reference: Ilan pasin (this is our way) : Torres Strait art.
A Cairns Regional Gallery exhibition. Exhibition curator, Tom Mosby ; research and development, Brian Robinson. The first Australian retrospective exhibition on Torres Strait art. Torres strait Islander perspective on their history, customs, legends and artistic expressions
Publishing details: Cairns, Qld. : Cairns Regional Gallery, 1998. Quarto, illustrated wrappers, pp. 151, illustrated.
Ref: 1000

Bad Aboriginal artview full entry

Reference: Bad Aboriginal art : tradition, media and technological horizons. Foreword by Dick Hebdige ; introduction by Marcia Langton.
“Collection of papers by Eric Michaels written during period of work with Warlpiri on development of Aboriginal television; all papers annotated separately; foreword by Dick Hebdige discusses Michaels’s style of analytical assessment; Marcia Langton describes his work at Yuendumu; Michael Leigh describes his work at the Australian Institute of Aboriginal and Torres Strait Islander Studies and the developments in Aboriginal filmmaking since Michaels’s death.” – Trove

Publishing details: Sydney : Allen & Unwin, 1994. Octavo, illustrated wrappers, pp. 204.
Ref: 1000

Parr Martinview full entry

Reference: ToiletMartin PaperParr
ToiletMartin PaperParr Book is a high-impact visual volume revealing the most iconic images from the prolific archives of internationally celebrated artist Martin Parr and the duo who created Toiletpaper, Maurizio Cattelan and Pierpaolo Ferrari.
Publishing details: Bologna : Damiani Editore, 2020. Quarto, illustrated boards, pp. 192, illustrated.
Ref: 1000

Life and still lifeview full entry

Reference: Life and still life - exhibition of 36 works by Horace Brodsky, Bob Dickerson, Russell Drysdale, Adrian Feint, Vic O’Connor, Helen Ogilvie, Ludmilla Meilerts, Arnold Shore, Constance Stokes, Noel Counihan, Margaret Preston and others.
Publishing details: Melbourne : National Gallery of Victoria and the Council of Adult Education, circa 1960. Small quarto, illustrated wrappers by John Brack, pp. [12],
Ref: 1000

Bedford Paddy view full entry

Reference: Heart of blackness : Paddy Bedford, by Jeremy Eccles

Publishing details: Melbourne : William Mora Galleries in association with Jirrawun Arts, 2005. Quarto, illustrated wrappers, pp. [28], illustrated.
Ref: 1000

Painting the land storyview full entry

Reference: Painting the land story. ‘For many indigenous Australians the act of painting is a kind of personal religious communion between artist and the ancestral creation beings that made the country....’
Publishing details: Canberra : National Museum of Australia, 1999. Quarto, illustrated wrappers, pp. 142, illustrated.
Ref: 1000

plot thickens Theview full entry

Reference: The plot thickens : narratives in Australian art. a Heide Museum of modern art travelling exhibition.Essays by Luke Morgan and Kendrah Morgan, illustrated with works by Gordon Bennett, Tom Roberts, Stephen Bush, Tracey Moffatt, Julia Ciccarone, Bill Henson, TV Moore, John Mawurndjul, Sidney Nolan, Charles Blackman, Guan Wei, Polixeni Papapetrou, Kate Beynon, Arthur Boyd et al.[To be indexed]

Publishing details: Melbourne : Heide Museum of Modern Art, [2004]. Quarto, illustrated wrappers (designed as a Penguin paperback interleaved with an exhibition booklet), unpaginated, illustrated.
Ref: 1009

photographyview full entry

Reference: see The Australian Photographer’s Collection. Also titled : Fuji ACMP Australian photographers collection. [To be indexed] Published in conjunction with the Society of Advertising, Commercial and Magazine Photographers (ACMP).
The first ten years of this annual hardcover celebration of Australian photography. Filled with both contemporary and historical imagery by photographers such as Max Dupain, Rennie Ellis, Wolfgang Sievers and others.

Publishing details: Sydney : Craftsman House, 1995 – 2006. Ten volumes, quarto, lettered cloth in dustjackets, each volume approximately 220 pages, extensively illustrated.

Aboriginal artview full entry

Reference: see Wrapped in a possum skin cloak. The Tooloyn Koortakay Collection in the National Museum of Australia, Jane Reynolds in collaboration with Debra Couzens, Vicki Couzens, Lee Darroch and Treahna Hamm.
In a museum, is where Debra Couzens, Vicki Couzens, Lee Darroch and Treahna Hamm found the inspiration to revive their communities’ craft of cloak-making. Comprising tools, artworks, ornaments and two magnificently worked possum skin cloaks, this collection is testament to their commitment and the resilience of their culture.
Publishing details: Canberra : National Museum of Australia, 2005. Small quarto, illustrated wrappers, pp. 64, illustrated.

Aboriginal artview full entry

Reference: see Ilan pasin (this is our way) : Torres Strait art.
A Cairns Regional Gallery exhibition. Exhibition curator, Tom Mosby ; research and development, Brian Robinson. The first Australian retrospective exhibition on Torres Strait art. Torres strait Islander perspective on their history, customs, legends and artistic expressions
Publishing details: Cairns, Qld. : Cairns Regional Gallery, 1998. Quarto, illustrated wrappers, pp. 151, illustrated.

Aboriginal artview full entry

Reference: see Bad Aboriginal art : tradition, media and technological horizons. Foreword by Dick Hebdige ; introduction by Marcia Langton.
“Collection of papers by Eric Michaels written during period of work with Warlpiri on development of Aboriginal television; all papers annotated separately; foreword by Dick Hebdige discusses Michaels’s style of analytical assessment; Marcia Langton describes his work at Yuendumu; Michael Leigh describes his work at the Australian Institute of Aboriginal and Torres Strait Islander Studies and the developments in Aboriginal filmmaking since Michaels’s death.” – Trove

Publishing details: Sydney : Allen & Unwin, 1994. Octavo, illustrated wrappers, pp. 204.

Aboriginal artview full entry

Reference: see Painting the land story. ‘For many indigenous Australians the act of painting is a kind of personal religious communion between artist and the ancestral creation beings that made the country....’
Publishing details: Canberra : National Museum of Australia, 1999. Quarto, illustrated wrappers, pp. 142, illustrated.

Who Are Youview full entry

Reference: Who Are You - Australian portraiture, edited by Sophie Gerhard, Joanna Gilmour, Penelope Grist, David Hurlston, Hannah Presley and Beckett Rozentals, with contributors. Extensively illustrated. [The book includes a list of about 200 works. The artist’s names have been entered in the scheding Index and there may be biographical information on these artists within the book. However, the book has no index].
‘Merging the traditional and unconventional, WHO ARE YOU: Australian Portraiture is a co-curated combination of collections from the National Gallery of Victoria and National Portrait Gallery. Featuring 130 works across painting, film, photography, screen printing, sculpture, and then some – it explores our inner worlds, outer selves, intimacy, isolation, celebrity and more.
You’ll see artists such as Patricia Piccinini, Atong Atem, Howard Arkley, Vincent Namatjira, John Nixon and Tracey Moffatt. Think superstar sitters like Albert Namatjira, Cate Blanchett, Queen Elizabeth II, David Gulpilil and Jeff the Wiggle. And why not both? We give you John Brack, Nora Heysen, William Yang and Shirley Purdie, just to name a few.
From head and shoulders to shape and text, this exhibition will have you thinking about the ever-evolving and ever-expanding idea of portraiture.’
Publishing details: Melbourne, VIC : NGV, National Portrait Gallery, Thames & Hudson Australia, 2022,
xxi, 281 pages : colour illustrations, portraits

Fielding Robertview full entry

Reference: Robert Fielding, exhibition of Aboriginal elders at NPG 2022
Publishing details: NPG 2022 [catalogue detail sto be enterered if there was a catalogue]
Ref: 1000

Beard Johnview full entry

Reference: John Beard by , Stephen Bann, Anthony Bond. ‘As the first major documentation of John Beard's work, this definitive monograph provides a visual chronology of Beard's work from 1978-2011. Featuring a highly original design presentation and exacting production standards, this beautifully created book contains essays by Stephen Bann and Anthony Bond, two of the art world's leading cognoscenti. Their sympathetic and comprehensive appraisal of Beard's art will be of great interest to art students and academics, curators and all thosewho are interested in the visual arts. Designed by multi-award winning designer John Warwicker, a founding member of the influential design-group 'tomato', the book also contains a 180-page plate section of Beard's work. A thing of beauty in its own right, this book will be highly sought after by admirers of Beard's distinctive work and by design-conscious book buyers and art collectors the world over.’
Publishing details: Hardie Grant Publishing, 2011, 343pp
Ref: 1000

Deerbon Unaview full entry

Reference: Una Deerbon : 1882-1972 : Australian potter / Rodney James, Relton Leaver, Peter Leaver ; foreword by Geoffrey Edwards
Publishing details: [Melbourne, Victoria] : Relton and Peter Leaver, 2019, 152 pages : illustrations (chiefly colour), portraits, facsimiles
Ref: 1000

Courage and beautyview full entry

Reference: Courage and beauty : the James C Sourris AM collection.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Perry Adelaideview full entry

Reference: Adelaide Perry : artist & teacher / Jo Oliver. [To be indexed fully to include all students, etc]. ‘Adelaide Perry was part of the Modernist art movement in Australia and one of the innovative women printmakers between the wars. This biography explores her life and work over a period when the lives of women changed radically. Adelaide studied at the National Gallery School in Melbourne and won the travelling scholarship in 1920 to study at the Royal Academy of Art in London. She taught first at Julian Ashton's Sydney School of Art before establishing the Adelaide Perry School of Drawing and Painting where she mentored a number of significant Australian artists. The Adelaide Perry Gallery has been named in her honour and holds the prestigious Adelaide Perry Prize for Drawing each year, continuing this remarkable Australian woman artist and teacher's legacy.’
Publishing details: North Melbourne : Australian Scholarly Publishing Pty, Limited, 2022 ,
viii, 318 pages : illustrations, 12 pages of plates. With Index.

Coleman Alannahview full entry

Reference: Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and index. [To be indexed fully - artists with only one reference in the book’s index have not yet been added to the Scheding Index]. ‘A luminary in the London art scene of the 1960s, Alannah Coleman was admired as a free spirit and loved by many for her creative energy and physical beauty. Born in Melbourne where she trained as an artist, she became part of a bohemian enclave that included artists and literary figures such as Arthur Boyd, Charles Bush, Alister Kershaw, Sidney Nolan, Elizabeth Paterson, Albert Tucker and Phyllis Waterhouse. In London, she sought tirelessly to promote Australian art as a gallery director and curator. In this biography, Simon Pierse reveals the fascinating and turbulent life of an influential figure in British and Australian post-war art.’
Publishing details: North Melbourne, VIC : Arden, 2022,
xvii, 364 pages : illustrations, portraits

Kirk Warrenview full entry

Reference: Northside - a time and place, by Warren Kirk.
From West Brunswick to Reservoir, Fitzroy to Hadfield, Warren Kirk turns his keen eye upon the streets, buildings, and inhabitants of Melbourne’s northern suburbs, which are as iconic as they are rapidly changing. Both a tribute to the things we remember and a reminder to look anew at the world around us, the photos in Northside are a triumph of craft from an artist who invites us to really see. Warren Kirk has been a documentary photographer for over 30 years. His previous books are the acclaimed Westography (2016), Suburbia (2018), and Northside (2020).
Publishing details: Scribe 2020
Ref: 1000

Architectural Drawingview full entry

Reference: Architectural drawings : collecting in Australia, by Miles Lewis
The best trained and most experienced librarian or curator is likely to confront difficulties in dealing with architectural drawings. Even an architect will be unable to understand some aspects of drawings a century old. Professor Miles Lewis, a leading architectural historian, in conjunction with the International Confederation of Architectural Museums (Australasia) demonstrates to professional curators how to collect, interpret and conserve these ephemeral works of art. In so doing he reveals fascinating insights and wonderful images for all who appreciate and practise fine art and architecture.
Full contents • Drawings collections
• Current holdings
• The generation of buildings
• Drawing purposes
• Drawing types
• Interpretation of drawings
• Media
• Collecting & organizing
• Born digital archives.

Publishing details: Melbourne, Victoria : Melbourne Books, [2020]
216 pages : illustrations (some colour) ;
Ref: 1000

Sharpe Wendyview full entry

Reference: Alchemy, by Kate Forsyth & Wendy Sharpe
Art.
Two brilliant artists get together and plan a dramatic book in words and images about the twists and turns in the life cycle of a woman. From birth onwards, no topic is skirted around.
Kate Forsyth is an award-winning and bestselling author for adults and younger people. Wendy Sharpe is a visual artist with accolades and global experiences aplenty. This collaboration takes them both to new places in their creative lives.
The drama that Kate and Wendy create on the pages of this lush book—in a collage style—will speak particularly to women with an intimacy that carries poignant and loving memories and knowledge, too, of the best things in life.
Kate Forsyth is the internationally bestselling author of more than thirty books. She completed a doctorate in fairytale retellings, and the novels that have come out of this fascination include the winner of the 2015 American Libraries Association Prize for Historical Fiction, Bitter Greens, The Wild Girl and The Beast’s Garden.
Wendy Sharpe is one of Australia’s most acclaimed artists. She has been awarded The Sulman Prize, the Portia Geach Memorial Award (twice), the Archibald Prize, and a finalist in the Sulman Prize twelve times, and the Archibald Prize seven times. She has held over 60 solo exhibitions around Australia and internationally.

Publishing details: Upswell, 2022, Large Flexibound format, Large Paperback 200 Pages
Ref: 1000

Tingey Nancyview full entry

Reference: Magic happens : the story of painting with Parkinsons / Nancy Tingey ; editor Bernadette Hince
Publishing details: [Nancy Tingey], [2018], 163 pages : colour illustrations, colour portraits
Ref: 1000

Fabian Erwin view full entry

Reference: Erwin Fabian : recent sculpture : 31 March - 19 April 2009

Publishing details: Collingwood, Vic. : Australian Galleries, [2009]
Ref: 1000

Fabian Erwin view full entry

Reference: Erwin Fabian : recent sculptures & earlier monotypes : 7 - 26 May 2013

Publishing details: Collingwood, Vic. : Australian Galleries, 2013
Ref: 1000

Fabian Erwin view full entry

Reference: Erwin Fabian Sculptor, by Sasha Grishin.
Erwin Fabian was one of Australia's most highly regarded sculptors and graphic artists and is widely represented in public art collections in Australia and Europe. When he died on January 19, 2020, aged 104, it was felt that Australia has lost on of its great art elders. Born in Berlin in 1915 into an artistic milieu where both parents were artists, the early death of his father and the rise of Hitler saw Fabian, as a German Jewish adolescent, lose the opportunity to gain a proper academic art training in Germany. By 1938, Fabian had lost his homeland as he fled to take refuge in England; by 1940 he had lost his freedom as the English authoroties had him interned as an 'enemy alien'. In the same year, he was banished from Europe on the notorious HMT Dunera to Australia, where he was placed in internment camps in Hay, Orange and Tatura. Freed in 1942 on enlisting in the Australian army, Fabian remained in uniform until he was demobbed in 1946 and that year became a naturalised Australian. Like many of the Dunera Boys, Fabian returned to England where he married an Australian girl with whom he had two children. In 1962, Fabian returned with his family to Australia, where he turned to making sculptures that he assembled out of discarded bits of scrap metal and wood that he found in the bush. His career as an artist took root in Australia and he remained based in Melbourne but made frequent, usually annual trips to Europe where he had a studio in London and later was celebrated in exhibitions in both London and Berlin. Fabian was friends with the author since 1980 and his first major monograph on his art is based on many years of taped interviews, discussions with the artist as well as extensive research. AUTHOR: Sasha Grishin AM, FAHA is an Emeritus Professor at the Australian National University in Canberra, who works internationally as an art historian, art critic and curator. He studied at the universities of Melbourne, Moscow, London and Oxford and has served several terms as visiting scholar at Harvard University. In 2004 he was elected Fellow of the Australian Academy of Humanities, in 2005 he was awarded the Order of Australia (AM) for services to Australian art and art history and in 2008 was awarded a Citation for Outstanding Contribution to Student Learning. He has published over thirty books and over two thousand articles and catalogue essays dealing with various aspects of art. In 2013 his massive Australian Art: A History wa published by Melbourne University Publishing, in 2015 appeared his monographs on John Wolseley (Thames and Hudson), Inge King (Macmillan) and S. T. Gill (National Library of Australia) and in 2022 his books on Erwin Fabian, Murray Walker and Joyce Evans.
Publishing details: Planet Books, Australian Galleries, 2022

Collective movements view full entry

Reference: Collective movements : First Nations collectives, collaborations and creative practices from across Victoria / editors, Kate ten Buuren and Maya Hodge ; authors, Bryan Andy, Paolo Balla, Belinda Briggs, Carolyn Briggs, Yaraan Bundle, Maddee Clark, Maya Hodge, Brian Martin, Tiriki Onus, Steven Rhall, Kat ten Buuren.
Collective Movements is a wide-ranging project focusing on the work of historic and contemporary First Nations creative practitioners and community groups in south-eastern Australia that recognises collectivity as integral to Indigenous knowledges and ways of being.
"First published on the occasion of the exhibition 'Collective movements: First Nations collectives, collaborations and creative practices from across Victoria'. Monash University Museum of Art, Melbourne, 5 May - 23 July 2022."--Colophon.
Publishing details: Monash University Museum of Art ; Clayton, VIC : Monash University Publishing, 2022,
215 pages : illustrations (chiefly colour), map
Ref: 1000

Aboriginal artview full entry

Reference: see Collective movements : First Nations collectives, collaborations and creative practices from across Victoria / editors, Kate ten Buuren and Maya Hodge ; authors, Bryan Andy, Paolo Balla, Belinda Briggs, Carolyn Briggs, Yaraan Bundle, Maddee Clark, Maya Hodge, Brian Martin, Tiriki Onus, Steven Rhall, Kat ten Buuren.
Collective Movements is a wide-ranging project focusing on the work of historic and contemporary First Nations creative practitioners and community groups in south-eastern Australia that recognises collectivity as integral to Indigenous knowledges and ways of being.
"First published on the occasion of the exhibition 'Collective movements: First Nations collectives, collaborations and creative practices from across Victoria'. Monash University Museum of Art, Melbourne, 5 May - 23 July 2022."--Colophon.
Publishing details: Monash University Museum of Art ; Clayton, VIC : Monash University Publishing, 2022,
215 pages : illustrations (chiefly colour), map

Kimberley Rock Artview full entry

Reference: Kimberley rock art. Volume one, Mitchell Plateau area by Mike Donaldson, Vol1.

Publishing details: Mount Lawley, W.A. : Wildrocks Publications, 2012
Ref: 1000

Kimberley Rock Artview full entry

Reference: Kimberley rock art. Volume one, Mitchell Plateau area by Mike Donaldson, Vol 2

Publishing details: Mount Lawley, W.A. : Wildrocks Publications, 2012
Ref: 1000

Kimberley Rock Artview full entry

Reference: Kimberley rock art. Volume one, Mitchell Plateau area by Mike Donaldson, Vol 3

Publishing details: Mount Lawley, W.A. : Wildrocks Publications, 2013
Ref: 1000

Aboriginal artview full entry

Reference: see Kimberley rock art. Volume one, Mitchell Plateau area by Mike Donaldson, Vols 1 - 3

Publishing details: Mount Lawley, W.A. : Wildrocks Publications, 2012-2013

Inspired by Countryview full entry

Reference: Inspired by country : bark paintings from Northern Australia - the Gerd and Helga Plewig collection / edited by Michaela Appel, Museum Fünf Kontinente. [To be indexed]
The Gerd and Helga Plewig Collection of Bark Paintings from Northern Australia with works mainly from the 1950s to 1970s is presently considered the best collection of its kind outside of Australia. It includes works from the Kimberley, Wadeye, the Tiwi Islands, Arnhem Land and Groote Eylandt by artists like Yirawala, Mawalan Marika and Mungurrawuy Yunupingu. Painting on bark is part of a continuing artistic tradition of Australian Aboriginal people intimately related to long-established practices of body decoration, rock painting and the manufacture and decoration of various objects in sacred and secular spheres. It is thought to have been practiced for centuries, but has only been known to European researchers and collectors since the early 19th century. Bark painting relates to the time of creation which underlies the present and determines the future.
Full contents • Director's foreword / Uta Werlich
• Ambassador's foreword / H.E. Philip Green
• Iconic images by master painters of Arnhem Land / Luke Taylor and Wally Caruana
• Skin is skin: a shadow history of Aboriginal bark painting / Djon Mundine
• Gerd and Helga Plewig's two decades of collecting / Tim Klingender
• Nayombolmi and Djimongurr : two prolific artists from Western Arnhem Land / Joakim Goldhahn and Sally K. May
• Bark painting in Arnhem Land : cultural context, meaning, and technique / Michaela Appel
• The foundations of Yolngu culture / Michaela Appel
• Rom Watangu : an indigenous leader reflects on a lifetime following the law of the land / Galarrwuy Yunupingu
• Catalogue
more...

Notes Published on the occasion of the exhibition: Inspired by country : bark paintings from Northern Australia - the Gerd and Helga Plewig collection, Museum Fünf Kontinente, Munich. March 18-September 18, 2022.
Warning: Aboriginal and Torres Strait Islander readers are advised that this book contains images of, and written references to, people who have passed away.
Includes bibliographical references (pages 369-374)
Publishing details: Munich, Germany : Hirmer Publishers, 2022, 375 pages : illustrations (colour), maps, portraits
Ref: 1000

Aboriginal artview full entry

Reference: Isee nspired by country : bark paintings from Northern Australia - the Gerd and Helga Plewig collection / edited by Michaela Appel, Museum Fünf Kontinente.
The Gerd and Helga Plewig Collection of Bark Paintings from Northern Australia with works mainly from the 1950s to 1970s is presently considered the best collection of its kind outside of Australia. It includes works from the Kimberley, Wadeye, the Tiwi Islands, Arnhem Land and Groote Eylandt by artists like Yirawala, Mawalan Marika and Mungurrawuy Yunupingu. Painting on bark is part of a continuing artistic tradition of Australian Aboriginal people intimately related to long-established practices of body decoration, rock painting and the manufacture and decoration of various objects in sacred and secular spheres. It is thought to have been practiced for centuries, but has only been known to European researchers and collectors since the early 19th century. Bark painting relates to the time of creation which underlies the present and determines the future.
Full contents • Director's foreword / Uta Werlich
• Ambassador's foreword / H.E. Philip Green
• Iconic images by master painters of Arnhem Land / Luke Taylor and Wally Caruana
• Skin is skin: a shadow history of Aboriginal bark painting / Djon Mundine
• Gerd and Helga Plewig's two decades of collecting / Tim Klingender
• Nayombolmi and Djimongurr : two prolific artists from Western Arnhem Land / Joakim Goldhahn and Sally K. May
• Bark painting in Arnhem Land : cultural context, meaning, and technique / Michaela Appel
• The foundations of Yolngu culture / Michaela Appel
• Rom Watangu : an indigenous leader reflects on a lifetime following the law of the land / Galarrwuy Yunupingu
• Catalogue
more...

Notes Published on the occasion of the exhibition: Inspired by country : bark paintings from Northern Australia - the Gerd and Helga Plewig collection, Museum Fünf Kontinente, Munich. March 18-September 18, 2022.
Warning: Aboriginal and Torres Strait Islander readers are advised that this book contains images of, and written references to, people who have passed away.
Includes bibliographical references (pages 369-374)
Publishing details: Munich, Germany : Hirmer Publishers, 2022, 375 pages : illustrations (colour), maps, portraits

My mother countryview full entry

Reference: My mother country : Aboriginal dot painting : Emily Kame Kngwarreye works from private collections ; Pierre and Joëlle Clément Collection, Zug / edited by Matthias Haldemann, Kunsthaus Zug. [To be indexed]
The collection of Joëlle and Pierre Clément includes a careful selection of works by indigenous Australian painters. This catalogue by Kunsthaus Zug features 80 works by 50 artists from the collection, as well as paintings by Emily Kame Kngwarreye. The image and text contributions allow for an in-depth examination of the color-intensive, abstract painting and shed light on the diverse artistic positions of the different peoples and regions of Central Australia. With their ?dot paintings,? the painters translate their millennia-old culture between traditional mythology and postcolonial reality into fascinating images created for indigenous and international viewers. The publication brings together 50 painters, including established names such as Kathleen Petyarre and Clifford Possum Tjapaltjarri, as well as lesser-known positions. One focus is on the works of EMILY KAME KNGWARREYE . Exhibition: Kunsthaus Zug, Switzerland (29.09.2021 - 02.02.2020).
Notes - Text in English and German.

Publishing details: Berlin, Germany : Hatje Cantz, 2022,
297 pages : colour illustrations, map ;
Ref: 1000

Aboriginal artview full entry

Reference: see My mother country : Aboriginal dot painting : Emily Kame Kngwarreye works from private collections ; Pierre and Joëlle Clément Collection, Zug / edited by Matthias Haldemann, Kunsthaus Zug.
The collection of Joëlle and Pierre Clément includes a careful selection of works by indigenous Australian painters. This catalogue by Kunsthaus Zug features 80 works by 50 artists from the collection, as well as paintings by Emily Kame Kngwarreye. The image and text contributions allow for an in-depth examination of the color-intensive, abstract painting and shed light on the diverse artistic positions of the different peoples and regions of Central Australia. With their ?dot paintings,? the painters translate their millennia-old culture between traditional mythology and postcolonial reality into fascinating images created for indigenous and international viewers. The publication brings together 50 painters, including established names such as Kathleen Petyarre and Clifford Possum Tjapaltjarri, as well as lesser-known positions. One focus is on the works of EMILY KAME KNGWARREYE . Exhibition: Kunsthaus Zug, Switzerland (29.09.2021 - 02.02.2020).
Notes Text in English and German.

Publishing details: Berlin, Germany : Hatje Cantz, 2022,
297 pages : colour illustrations, map ;

Viewfinderview full entry

Reference: Viewfinder : photography from the 1970s to now / Matthew Jones. [To be indexed]
Viewfinder is a dynamic and insightful look at how Australia has changed over the last 50 years, through a survey of photographs from the National Library of Australia's collection. These images, ranging from the 1970s to the present day, also tell the fascinating story of the changing nature of photography as a medium to record our lives.Australia has changed radically in the last half-century - economically and culturally, we have opened our arms to the world. The way we work and play has changed, as well as our very idea of Australian identity. Waves of protest during these decades, as well as an increasing cultural diversity thanks to immigration from all around the world, have made us more accepting of, and willing to celebrate, difference. Our relationship and attitudes to the environment have also changed, particularly as we continue to move away from the bush to the big coastal cities and become more aware of the threat of climate change.Along with these social changes, the nature of photography has also evolved. The last half-century saw the acceptance of photography as an art form, as well as astounding changes in technology - particularly the increased use of colour and digital by professionals and amateurs alike. The world was changing and photographers had acquired a bigger toolbox of techniques and approaches to record these changes.Accompanying an exhibition of the same name, Viewfinder is a wide-ranging representation of the Australian experience. Just as your photo albums, whether physical or digital, tell your story, this remarkably wide-ranging collection of images serves as a valuable aide to help us understand our country and its people.
Notes "From the National Library of Australia"--Cover.
Published as a companion to the exhibition Viewfinder: Photography from the 1970s to Now, held at the National Library of Australia from 16 September 2022 to 30 April 2023.
Publishing details: NLA Publishing, [2022], pb,
94 pages : chiefly photographs ;
Ref: 1000

Mabo Eddieview full entry

Reference: see National Library of Australia catalogue for 6 of Eddie mabo’s works. Eddie Mabo’s work was on display in the Treasures gallery at the NLA in 2022. He joined the Ti\ownsville Art Socirety in the 1960s.

Jenz Davidview full entry

Reference: David Jenz Sculpture
Publishing details: Canberra Museum and Gallery, 2003
Ref: 1000

Sculpture in the Paddockview full entry

Reference: Sculpture in the Paddock
"Sculpture in the Paddock was conceived by sculptors Al Phemister and Duncan Waugh as part of the 2013 YASSarts arts weekend. In determining the location for the event YASSarts creator Kim Nelson enthusiastically recommended the National Trust property ‘Cooma Cottage’ just outside the the town of Yass, NSW. With its rolling hills and splendid visual curtilage, they all agreed the National Trust property was tailor-made for such an event. Part of the impetus behind the project was the fact that the Yass Valley Shire boasts an unusually high proportion of sculptors – some of national and international standing. Veteran sculptor Rosemary Madigan, whose work features in state gallery collections; Michael le Grand, past head of Sculpture at ANU; Wendy Teakel, current head of Sculpture at ANU; David Jenz and Phil Spelman, whose work can be found in public spaces throughout Canberra and beyond, and Lee Tunks who runs ‘Man of Steel’ a company that specializes in contemporary architectural and sculptural metalwork – to name just a few. On top of this, the town of Yass boasts no less than four sculptures by iconic Australian sculptor, the late Tom Bass."--About.
Publishing details: Sculpture in the Paddock, 2013-
1 online resource
Series PANDORA electronic collection.
Ref: 1000

Carroll Patrickview full entry

Reference: Patrick Carroll - Gravitas
Publishing details: Manly, N.S.W. : Manly Art Gallery & Museum, 1995
40 p. : ill.
Ref: 1000

spontaneous gesture Theview full entry

Reference: The spontaneous gesture : prints and books of the abstract expressionist era / Lanier Graham. To be indexed for Australian artists.

Publishing details: Canberra : Australian National Gallery, c1987
95 p. : ill.
Ref: 1000

Ah Kee Vernonview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Arkley Howardview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Bell Richardview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Bennett Gordonview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Binns Vivienneview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Brown Leonardview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Brown Mikeview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Carchesio Eugeneview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Cattapan Jonview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Cripps Peterview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Ely Bonitaview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Fardoulys James view full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

harding dview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Hunter Robertview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Johnson Michaelview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Johnson Timview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Kennedy Peterview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Kngwarreye Emily Kameview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Lendon Nigelview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

ManningsRossview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Milani Lyndallview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Namatjira Albertview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Napangati Yukultjiview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Pannka Claudeview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Pareroultja Ottoview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Peart Johnview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Piggott Rosslyndview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Roberts Lukeview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Rooney Robertview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Sansom Garethview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Sellbach Udoview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Snowball Arrynview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Staunton Madonnaview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Thomas Roverview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Watkins Dickview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Watson Judyview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Wight Normanaview full entry

Reference: see Courage and beauty : the James C Sourris AM collection. Includes biographican information, and some essays on and interviews with artists.
Over two decades, Brisbane collector and benefactor James C. Sourris AM has amassed an extensive collection of Australian art, both Indigenous and non-Indigenous, focusing on contemporary and postwar Australian artists, with particular attention given to artists from Queensland. A major benefactor to the Queensland Art Gallery I Gallery of Modern Art (QAGOMA), Sourris has generously gifted around 200 works to the Gallery's Collection to date and this publication will highlight his longstanding generosity and the significance of his contributions. The book features Chris Saines CNZM, Director, QAGOMA, in conversation with James C. Sourris AM and an essay by exhibition curator, Peter McKay, Curatorial Manager, Australian Art, QAGOMA, as well as interviews with nine high-profile contemporary artists.
Published for 'Courage and beauty : The James C Sourris AM Collection', an exhibition organised by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and held at GOMA, Brisbane, Australia, 3 September 2022 - 18 June 2023.

Publishing details: South Brisbane, Queensland : Queensland Art Gallery , Gallery of Modern Art (QAGOMA), 2022
162 pages : colour illustrations, portraits

Port Jackson artists theview full entry

Reference: see Australian Journal of Art, vol XIV no 1, 1998, - Second thoughts on first views: The Port Jackson circle, 1788-1800, by Jane Lennon.

Sydney Bird Painterview full entry

Reference: see Australian Journal of Art, vol XIV no 1, 1998, - Second thoughts on first views: The Port Jackson circle, 1788-1800, by Jane Lennon.

Watling Thomasview full entry

Reference: see Australian Journal of Art, vol XIV no 1, 1998, - Second thoughts on first views: The Port Jackson circle, 1788-1800, by Jane Lennon.

Raper Georgeview full entry

Reference: see Australian Journal of Art, vol XIV no 1, 1998, - Second thoughts on first views: The Port Jackson circle, 1788-1800, by Jane Lennon.

Noah William convictview full entry

Reference: see Australian Journal of Art, vol XIV no 1, 1998, - Second thoughts on first views: The Port Jackson circle, 1788-1800, by Jane Lennon.

Jones artist in Sydney c1792view full entry

Reference: see Australian Journal of Art, vol XIV no 1, 1998, - Second thoughts on first views: The Port Jackson circle, 1788-1800, by Jane Lennon.

Hunter Johnview full entry

Reference: see Australian Journal of Art, vol XIV no 1, 1998, - Second thoughts on first views: The Port Jackson circle, 1788-1800, by Jane Lennon.

Smyth Arthur Bowes p47view full entry

Reference: see Australian Journal of Art, vol XIV no 1, 1998, - Second thoughts on first views: The Port Jackson circle, 1788-1800, by Jane Lennon.

Butler Daniel p47view full entry

Reference: see Australian Journal of Art, vol XIV no 1, 1998, - Second thoughts on first views: The Port Jackson circle, 1788-1800, by Jane Lennon.

Watts John p47view full entry

Reference: see Australian Journal of Art, vol XIV no 1, 1998, - Second thoughts on first views: The Port Jackson circle, 1788-1800, by Jane Lennon.

Ravenet Juan p47view full entry

Reference: see Australian Journal of Art, vol XIV no 1, 1998, - Second thoughts on first views: The Port Jackson circle, 1788-1800, by Jane Lennon.

Bauza Felipe p47view full entry

Reference: see Australian Journal of Art, vol XIV no 1, 1998, - Second thoughts on first views: The Port Jackson circle, 1788-1800, by Jane Lennon.

Brambila Fenando p47view full entry

Reference: see Australian Journal of Art, vol XIV no 1, 1998, - Second thoughts on first views: The Port Jackson circle, 1788-1800, by Jane Lennon.

Alt Matthew Bowes p47view full entry

Reference: see Australian Journal of Art, vol XIV no 1, 1998, - Second thoughts on first views: The Port Jackson circle, 1788-1800, by Jane Lennon.

Watling Thomasview full entry

Reference: see Australian Journal of Art, vol XIV no 1, 1998, - The oil painting ‘Sydney in 1794’, by Bernard Smith

Drysdale Russellview full entry

Reference: see Australian Journal of Art, vol XIV no 1, 1998, - article on Drysdales ‘The Gatekeeper’s Wife’, by Richard Read.

Prout Samuelview full entry

Reference: Samuel Prout 1783-1852, by Richard Lockett. With a catalogue of all his drawings in the V. & A. museum and a checklist of his publications. Includes information about John Skinner Prout
Publishing details: Victoria & Albert Museum, 1985, in-8°, 25 x 19 cm, 192 pp, b/w ills, index, bibliography, sewn, orig. wrappers.

Prout John Skinnerview full entry

Reference: see Samuel Prout 1783-1852, by Richard Lockett. With a catalogue of all his drawings in the V. & A. museum and a checklist of his publications. Includes information about John Skinner Prout
Publishing details: Victoria & Albert Museum, 1985, in-8°, 25 x 19 cm, 192 pp, b/w ills, index, bibliography, sewn, orig. wrappers.

Edith Holmes Dorothy Stoner Two Retrospectivesview full entry

Reference: EDITH HOLMES, DOROTHY STONER: TWO RETROSPECTIVES, by Hendrik Kolenberg, Exhibition held at the Tasmanian Museum and Art Gallery, 25 August - 2 October, 1983.
Publishing details: Hobart. Tas Museum & Art Gallery. 1983. 4to. Col.Ill.wrapps. 56pp. Light wear to corners. Profusely illustrated in colour and black & white.
Ref: 85

Commercial Artview full entry

Reference: A Fine Line, A History of Australian Commercial Art, by Geoffrey Caban
Publishing details: Syd. Hale & Iremonger Pty Ltd. 1983. 4to. Or.bds. Dustjacket. 166pp. (sl foxing) to top & foredge. Profusely illustrated in colour and black & white.

Arabmadeview full entry

Reference: Arabmade - An exhibition of contemporary Arabi- Australian art: 27 Feb to 5 April, 1998. Exhibition Catalogue. Arabmade gathered artists from Arab backgrounds who portrayed aspects of living in the West that are not available to artists living in the Arab world, such as the free
expression of gender boundaries.
Publishing details: Casula. Casula Powerhouse Arts Ctr. 1998. Oblong 8vo. Col.Ill.wrapps. 32pp. Light wear to corners. b/w ills.
Ref: 1000

Prior Gregoryview full entry

Reference: PAINTINGS FROM THE BED OF A LONG GREEN RIVER
Gregory Prior
Publishing details: [Melbourne]: George Gallery, [1997].
First Edition.
19cm x 15cm. 45 pages, colour illustrations. Wrappers. Text is bilingual, English and Chinese.

Rossi Daisyview full entry

Reference: see GFL Spring 2022 Art Auction, WA, 29th of November, 2022, lot 39 DAISY ROSSI
(1879-1974). Essay in catalogue.
WILDFLOWERS
Signed lower right
Oil on canvas on board
80 x 50cm

Ref: 145

Battarbee Rexview full entry

Reference: see GFL Spring 2022 Art Auction, WA, 29th of November, 2022. Essay in catalogue. lot 40
40. REX BATTARBEE
(1923-2014)
MACDONNELL RANGES
Signed and dated 1957 lower right
Watercolour
50 x 69cm

Ref: 145

Grey-Smith Guyview full entry

Reference: see GFL Spring 2022 Art Auction, WA, 29th of November, 2022, lot 45 Essay in catalogue.
45. GUY GREY-SMITH
(1916-1981)
TWO FIGURES
Signed and dated 65 lower right
Oil and beeswax emulsion on board
121 x 90cm

Estimate: $60,000/90,000

Illustrated: "Guy Grey-Smith Retrospective", Art Gallery of Western Australia, 1976, page 44, catalogue number 42.

Referenced: "Guy Grey-Smith Life Force", Andrew Gaynor, UWA publishing, 2012, page 259.

Ref: 145

Conder Charles Near Morningtonview full entry

Reference: see GFL Spring 2022 Art Auction, WA, 29th of November, 2022, lot 47 Essay in catalogue.
47. CHARLES CONDER
(1868-1909)
NEAR MORNINGTON
Oil on academy panel
21 x 26cm

Estimate: $160,000/220,000

Provenance: Private Collection, Sydney.
Voss-Smith Collection, London.
Spink and Son, London.

Illustrated: "Victorian Painters", Jeremy Maas, published by Barrie Rockliff, London, 1964.
"The Golden Age of Australian Painting – Impressionism and the Heidelberg School", Alan McCulloch, Lansdowne Press, 1969, illustrated page 130.

Juniper Robert XANTHORRHOEA
view full entry

Reference: see GFL Spring 2022 Art Auction, WA, 29th of November, 2022, lot 49 Essay in catalogue.
49. ROBERT JUNIPER
(1929-2012)
XANTHORRHOEA
Signed and dated 83 lower right
Oil, acrylic, graphite and charcoal on canvas
183 x 183cm

Ref: 145

von Guerard Eugene Pinnacles Cape Woolamai
view full entry

Reference: see GFL Spring 2022 Art Auction, WA, 29th of November, 2022, lot 50 Essay in catalogue.
50. JOHANN JOSEPH EUGENE VON GUERARD
(1811-1901)
THE PINNACLES CAPE WOOLAMAI
Signed lower left
Oil on academy panel
21 x 37cm

Estimate: $120,000/180,000

Provenance: "Australian & Overseas Paintings", Leonard Joel, Melbourne, 11 April 1984, lot 150, titled "Victorian Coast Line".
The Collection of Albert Manning, by descent.

Naparrula Ningura Gibsonview full entry

Reference: see GFL Spring 2022 Art Auction, WA, 29th of November, 2022, lot 71 Essay in catalogue.
71. NINGURA GIBSON NAPARRULA
(1938-2013)
UNTITLED
Papunya Tula Artists certificate of authenticity catalogue number NN0101085 accompanies this artwork
Acrylic on canvas
183 x 153cm

Ref: 145

Philpot Ernest Sidneyview full entry

Reference: see GFL Spring 2022 Art Auction, WA, 29th of November, 2022, lot 73 Essay in catalogue.
73. ERNEST SIDNEY PHILPOT
(1906-1985)
O KUR STRIPE
Monogrammed and dated 1967 lower right
Oil on board
77 x 101.5cm

Ref: 145

Hobart Town plate c1825view full entry

Reference: valuation notes wirth references to sales and some information about the plate.
Publishing details: Notes in Scheding Library
Ref: 145

Woolner Thomas medallions of Oriana and William Fanningview full entry

Reference: research notes on two plaster Woolner Medallions purchased from Deutscher Fine Art 1996 and now in Powerhouse Museum.
Publishing details: inserted in Thomas Woolner, R.A., Sculptor and Poet: His Life and Letters, Written by His Daughter Amy Woolner. In Scheding Library]

Ah Xianview full entry